A year ago in April.
I visited "Yamae Keori" for the first time.
I was just in Tokyo on a business trip, so I met at Tokyo Station with the designer of the brand I was heading to this time.
The two of us sat side by side on the Shinkansen to Nagoya.
In regular seats, of course. smile
It wasn't as bad as now, but there were a lot of people and reserved seats.
Arrived in Nagoya.
From there, take a train to the nearest station where Mr. Keori Yamaei is located.
After transferring from the Shinkansen, I arrived at Kintetsu Kanie Station.
Here, I will meet Mr. Yamada of Yamaei Keori.
Mr. Yamada from Sanei Keori picked me up by car, and I drove there.
I had met him before on a different matter, and we headed while talking about various things on the way.
When you leave the station, little by little, it becomes a local townscape.
Yamaei Keori is located in Tsushima City, which is said to be located at the southernmost tip of Bishu, a wool production area.
The area around Ichinomiya City, Tsushima City, Hashima City, and Nagoya City is said to be the Bishu production area.
In particular, Tsushima City, where Yamaei Keori is located, has a long history of textiles, and during the Edo period, it was known as a production area for silk fabrics with extensive mulberry fields.
From there, cotton textiles became popular, and in the early Meiji era around 1870, it was a major production area of cotton textiles in Japan.
However, by 1890, the area had declined as a production area for cotton textiles due to a major earthquake, an influx of cheap goods, and mass production by large companies.
Even if it was over 100 years ago, people still have the same commercial way of thinking.
Inexpensive products and mass production will drastically change the flow of industry.
However, around 1900, a major turning point came.
That is Harukichi Kataoka, who is said to be the "father of Bishu woolen textiles."
It is said that Harukichi Kataoka is the person who created the opportunity to develop Bishu into one of the three major woolen production areas in the world.
He founded the Kataoka Woolen Factory in 1898 and was a person who devoted himself to research.
At that time, handlooms were mainly used, but he wanted to create something that would rival the "imported" woolen fabrics from Europe, which have a long history compared to Japan. With this feeling in his heart, he devoted himself to research and development, sparing no time for sleep or food.
As a result, not only hand looms, but also Kataoka looms were created, and dyeing and processing were repeated with originality and ingenuity, and the research results were not monopolized.
He taught all the techniques to those who asked, and thanks to that, the area developed as a woolen textile industry area.
Because there are people who pushed forward in any era, there are things that remain.
I think it's a well-known story that Toyota, the automobile, was originally a woolen company called Toyota Industries.
While listening to such historical stories, we finally arrived.
"Yamaei Keori Co., Ltd.".
Founded in 1915.
It is now 108 years old, and it is quite a "long-established weaver" even in the production area.
A company over 100 years old is truly amazing.
Naturally, there have been many waves of various eras, but there is a reason why they continue to remain.
It is one of the few long-established "super prestigious" weavers in Japan.
At that time, I was the first select shop person to go to Yamaei Keori. smile
It's an honor.
After arriving at Mr. Keori Yamaei, I was guided to the reception room.
We sat on chairs and talked and listened.
The place has also been visited by designers from brands around the world.
Around 2000, for the first time in Bishu, a well-known big maison brand visited.
Since then, there, here, there, and here. It feels like a lot of Maisons are coming.
I still continue to weave many fabrics of such brands.
The chair where I sat and talked was also the chair where many big guys have sat.
However, according to Mr. Yamada, there are some parts that have been forged thanks to such a maison.
At first, he only woven wool and animal hair, but his first job with Maison was "cotton".
Since then, one after another, orders for natural plant fiber fabrics such as cotton and linen have come from overseas, and it seems that natural fibers other than wool can be woven at a tremendous level.
Well, why would such a big maison ask a woolen weaver for cotton? That's what I'm talking about.
However, the reason is clear.
I'm sure there are people who have seen woolen fabrics, but they have "ear names" in them.
It's the letters on the edge of the fabric, such as suit fabric.
The "ear name" is unique to woolen fabric.
And Mr. Keori Yamaei's ear name was very beautiful.
The quality of the fabric itself and the "ear name" to put the brand name.
The world is surprised and praised for its high level, and Yamaei Keori orders natural fibers other than wool.
I was also shown a very old old fabric sample material.
Well, it's been 108 years since the company was founded this year.
Mr. Keori Yamaei continues to do just that.
Mr. Yamada, who is the current president, is said to be the fourth generation.
Also, Mr. Yamada said that what he was doing in the 1950s and 1960s is still the cornerstone of his work.
That is "black formal".
In collaboration with Yamaei Keori and two other companies, it seems that the world's first "black formal" has been created.
In the first place, the culture of formal clothes is only in Japan.
Currently, the "black formal wear" that everyone recognizes as a formal dress seems to be a culture unique to Japan.
Overseas, it seems that it is just recognized as a black suit.
However, it seems that Mr. Keori Yamaei played an important role in creating such a "black formal" that is unique to Japan.
Yamaei Keori weaves a beautiful plain fabric, and another company dyes it black.
And finally, another company makes clothes.
At that time, it seems that there was no technique called "deep dyeing" to "dye black".
Even in Japan, until then, kimonos were worn on formal occasions. kana. It seems that they wore black hakama like that as formal wear.
In that era when Western culture was entering more and more, he created a "black formal".
What is it that has become the foundation of Yamaei Keori today?
Black formal is "dark black", and it was necessary to weave "beautiful fabric" for the base.
That's why he pursued "how to make a 'white' and 'beautiful' plain white fabric."
The texture of the fabric is neatly arranged, yet it is dense, and the fabric itself has a bulge and does not easily wrinkle.
I pursued making such a plain fabric.
According to Mr. Yamada of Sanei Keori, when it comes to wool, fibers are often referred to as "SUPER XX" or "XX micron", but in reality, textiles are not.
Well, I often say that too. smile
Experts in that world have different things to say. at all.
For example, even if there is a 60-count two-ply yarn, there are various ranks, and even if you look only at the number of microscopic fibers, it is normal that the yarn itself is not beautiful at all when it is made into yarn. It seems that there is.
The important things are "selection of thread", "setting of density of thread", and "compatibility between thread and loom".
In Japan, there are still amazing people who are chosen from all over the world.
Get to know Mr. Keori Yamaei.
When you enter the loom, you will see a line of equipment for adjusting the warp threads.
This is the loom used by Yamaei Keori.
It's called "Double mouth low speed rapier loom".
Yamaei Keori owns 18 double-ended low-speed rapier looms and 1 Schonherr loom, for a total of 19 looms.
However, this "double opening low speed rapier loom" is unique to Yamaei Keori.
It seems that it is a very rare loom.
Normally, for woolen fabrics, the "Schoenherr loom" is said to be the slowest loom.
Well, it's not just that it's better if the movement is slow, but the texture of the thread may come out, but it's not necessarily the best.
Mr. Yamada of Sanei Keori asks what we should aim for. He said
Just this "double-ended low-speed rapier loom".
It was by far the slowest loom I have ever seen.
Mr. Yamada is almost the same as Schonheru. You say it like that, but that's not the case.
It was slower than any Schonherr loom I had ever seen.
This is why the texture of this level of fabric is born. I was convinced.
Well, what is this "double open low speed rapier loom"?
I don't think you can tell from the picture, but the rapier loom doesn't have a "shuttle".
It is called a shuttleless loom.
A normal Schönherr loom has a shuttle, and while the set warp threads move up and down, the shuttle to which the weft thread is attached traverses.
From one side, back and forth, back and forth, back and forth over and over. That's what it feels like.
However, the rapier loom
Instead of a shuttle, a "rapier" is launched from each side, on one side of which the weft thread is set, and at a point exactly in the middle of the fabric, it passes the weft thread to the rapier coming from the opposite side.
Hard to understand, right?
But it is.
For those on Instagram, we will post a video of the rapier loom in operation, so please take a look there. smile
It's called "double opening".
What does this word refer to? The warp thread.
The warp threads are set one by one in what is called a heddle.
This set is commonly called ``hedooshi'' or ``soukodooshi''.
I introduced this "Kyotoshi" and "Heddoshi" when Kaneta and Kuzuri Keori made the fabrics, so it's okay if you look at my past blogs.
In order to weave the fabric, warp and weft must be combined, right?
That's why the warp set on the loom "moves up and down", and the "weft" passes between them to finish weaving.
It is the "heddle" that "moves the warp up and down".
Therefore, there is always a tremendous process called "Kunotoshi" in the newly woven fabric.
Going back to the topic, "double mouth opening" means that this vertical movement is
It means "open mouth" to "both".
It is very beneficial when the fabric is finished.
In general, the "one mouth opening" is the center.
In addition to that, "low speed" is also essential for Yamaei Keori.
This "double mouth opening" and "low speed" are extremely important.
Furthermore, if you delve into the story,
"Weft threads" are driven between "warp threads" that move up and down.
At that time, the weft threads driven into the weft are "pushed in" by something called "reed".
This "reed" "holds down" the weft thread that has passed between the warp threads and "pushes" the weft thread into the designed position, increasing the density.
Here, the "speed of the loom" mentioned earlier is important.
In the case of a high-speed loom, before the "pushed-in weft" returns to its original bulge, the next weft is pushed in, and the weft continues to be set in a state of being crushed.
For example, it's like the "slow motion of a ball" hit by a professional baseball batter.
Even a hard ball will look like it's crumbling when you throw it.
It is an image that each weft thread is crushed like that.
Such a high-speed loom can weave at a speed that does not even catch the eye.
Indeed, it is so fast that it can be said to be "the world of Mach".
However, in the case of Yamaei Keori's "low-speed rapier loom", it takes a long time from when the weft is held down by the reed to when the next weft is driven.
In other words, "time" is given for a single weft thread that has been crushed with a squish to fully return to its original bulge.
That's why the bulge of each thread is amazing.
Still, "double opening".
With that in mind, watch this.
As you can see,
The blue line is the warp.
Weft threads in red circles. represents.
The upper one represents a normal "one-sided shedding high-speed loom".
Below is a representation of Yamaei Keori's "Double opening low speed rapier loom".
As you can see from this figure, the vertical movement of the warp is
"Kataguchi opening" is only on the upper side.
You can see that "double opening" opens up and down at the same time.
Therefore, you can see that the driven weft threads can easily go "back and forth".
At the same time, because the speed is low, the wefts held down by the "reed" are given time to "swell up".
In spite of the "one-sided opening", when it comes to a "high-speed loom", the warp opens only on one side of the upper side, so the space where the weft is held down is small and it cannot go all the way in.
In addition, the next weft thread is driven in before it regains its bulge as a thread while it is held down by the "reed", and its original potential as a thread is not exhibited.
I think this "single shedding high speed loom" occupies most of the world.
To weave a lot of fabric in a short time.
That's why I think the world is overflowing with frivolous fabrics that don't feel flimsy.
Of course, if you don't pursue quality, you can complete a large amount of fabric in an overwhelmingly short time.
Therefore, I think it is a crossroads for a weaver to decide whether quality is the most important thing or productivity is the most important thing.
Most of the world is focused on productivity.
Well, it's more profitable that way. Of course.
However, for me, I find the fabrics of Mr. Weaver, which is not like that, attractive.
You can't do the same thing everywhere.
This is the biggest feature of Yamaei Keori.
That is why many designers from all over the world gather at Yamaei Keori.
Of course, the price of fabric is high.
As a result, a very good quality fabric is produced.
Also, Yamaei Keori's fabric is called "kibata", and it's already finished as it is woven.
In the state of raw fabric, no matter how high-quality the raw materials are, they are hard and rough and completely useless.
That's why the finisher who finishes the gray fabric, called the "sorting factory", does the finishing.
So we do a lot of processing.
There are so many types of processing, and the reason why even the cheap ones look so good is because the processing is amazing.
Even if it's cheap clothes, the reason why it looks and feels stable when it's brand new is because it's deceived by processing.
The reason why I feel sorry for such clothes after washing them once or after many years is proof that the processing that was only good on the surface has been removed.
However, the fabrics that Yamaei Keori produces are, as I mentioned earlier, carefully selected yarns, designed with proper density, and considered to be compatible with the loom. woven.
So, when the fabric for this time was woven, I immediately asked Mr. Yamada to show me the raw fabric, and it was "completed". completely.
It seems that at Yamaei Keori, people at the sorting factory say, "It's already finished."
With Yamaei Keori's fabrics, the quality of the fiber itself and the thread itself is maximized, not only when it is new as clothes, but the more time passes, the more surprising quality you can feel.
Besides that, Mr. Yamada of Yamaei Keori is a very kind person.
On top of that, he's very creative.
When I met him for the first time, he told me that "textiles have infinite possibilities", and he also knew about the existence of CASANOVA&CO from the beginning.
He's extremely polite and kind, and I've heard from many designers that he has a good personality.
That's why I wanted Yamaei Keori to create a fabric in collaboration with a certain brand.
Through this, please experience the quality of the fabrics made by Yamaei Keori.
Continue. . .