I've been writing since the other day, but what I've always wanted to do. Go to a weaving shop that has unique "technology" in the world and make fabrics. To tell everyone about it. Then, we create the fabric from scratch with a strong and wonderful brand, shape it into clothes, and deliver it to our customers. It seems that what I envisioned will soon come true. This time, I visited Kaneta Orimono and planned the fabric with AUBETT. It is a fabric called "ZZ strong twist twill triple weave". Without a doubt, Kaneta Orimono is the only company in the world that can do this. And thanks to all the people involved in Kaneta Orimono, it became a reality. I believe that we have created a fabric of such excellent quality that no one has ever seen, touched, or worn it before. Originally, there is something that became the start of the image of this fabric. this. and this. This photo shows the guardrail right in front of the store and a thick pipe in the river that is a little larger than a gutter. I watched this every day. The shade of this "red rust" is unique and has a much more complex color than other red rust colors. There is no red rust of this tone anywhere I look. A few years ago, I wondered if I could make clothes with the nuances of this color. So when I went to Kaneta Orimono this time, I had the idea of creating this "red rust" atmosphere with fabric. I communicated this to Mr. Ota of Kaneta Orimono, Mr. Yoshimura of AUBETT, and Mr. Sugihara, and we decided that even Mr. Kaneta would try something unprecedented. It seems that it was a difficult task to finish the weaving, and it was a high hurdle, but somehow I was able to get it finished. The warp is ZZ hard-twisted cotton, which Kaneta Orimono boasts to the world. The weft is mohair and wool, which Kaneta Textile will try for the first time. It is a fabric with a super-complicated structure of ZZ strong twist twill weave and triple weave that no one has ever seen before. First, I arranged the raw materials before weaving, and then dyed the warp and weft to different colors in order to bring it to the nuance I wanted to reproduce. yes. Yarn-dyed. Moreover, this time, instead of using materials that Kaneta Orimono has a proven track record with, almost all the processes, including raw materials, spinning (twisting, gas firing, etc.), and yarn dyeing, were carried out on their own. In order to bring out the red rust, the warp cotton is a twill, so it can be seen well, so it has a burnt reddish brown tone. The weft yarn is a blend of wool and mohair, and has a deep mahogany color that looks like a rusty "red" peeking out from behind. I asked the dyeing factory to make several patterns of color samples called thread beakers, and created an original color. Finished original color thread, According to Kaneta's idea, The warp is ZZ hard twist 1400 times. The weft was designed with normal twist. When this design turned into a wonderful fabric, it created a very deep depth. Furthermore, at the yarn stage, the warp yarn is a kind of hard-twisted yarn with very little fluffing. In other words, the fluff is eliminated from the yarn with less fluff. In addition, the weft contains mohair, and in order to reduce the fluffiness of the mohair, the mohair yarn is also gas-fired, which is a very unusual specification, to remove excess fluff. This is to ensure that the amazing texture of the fabric is fully visible when finished. However, once the yarn was completed, there was no precedent for Kaneta Orimono, so I knew from the beginning that there would be extremely high hurdles waiting for us. The fabric I made this time is a "ZZ high twist" "triple weave", but the number of warps in the triple weave is not the same as in normal fabrics. The triple weave is simply three layers of thin fabric. That's why the number of warp threads increases without any edge. The number, 10920 (a shuttle loom with a narrow fabric width). This is a common broad cloth, and it is said that it will be 5000 to 6000, so it is almost double the amount. The fabric is made by setting the "warp" on the loom, moving it up and down to create a path for the "weft", and inserting the "weft" one by one. The process of setting the warp threads is called "warping". The photo above shows the warping process. First, the finished thread is wound around the "cheese" pictured above. The thread wound around the cheese is then wound around a temporary winding "drum" or "taiko". This time, the number of warps is very large, so 550 cheeses, which are lumps of spools. The 550 threads are wound 20 times around a temporary drum. First, the 550 threads released from the 550 cheeses pass through a hole called a batten to prevent them from getting tangled. Each thread is checked to make sure that it is not out of order by the millimeter, and passed through a number of tools. Then, it is temporarily wound. These are all warp threads. 20 times in all of these 550 bottles. After all temporary winding is completed, A large roll called a "beam" of the warp that is wound when it is set on the shuttle loom. Rewound to this, This is how the ZZ hard-twisted warp was created. This is the "beam" of this fabric. But then this warp will face a very difficult task. This process is called "hedooshi". 10,920 of these "Katsutsushi" are all manually set one by one on the loom. This is "passing through". This woman passed all the warp threads by hand. The warp threads are visible in front of the woman. The process of passing all of them through a small hole. It doesn't matter how many days it takes to complete this process, it must be done accurately, and it is essential to have the patience to continue doing the same thing while sitting. This also requires the technology of the road, exactly "craftsmanship". It is a very spectacular work, and it is always necessary to weave a new fabric, but even in the Enshu region, which is a major cotton textile production area, it is said that there is a shortage of successors for "traditional craftsmen". This time, the number of days it took to "pass through" was 5 days. It's 7 to 8 hours of work in a day. And it seems that the wages for the work are 22000 yen. How do you perceive this 22,000 yen? This job is 22,000 yen in 5 days. Divided by one day, it is 4400 yen. What do you think? Mr. Ota of Kaneta Orimono has said that he wants to raise the amount paid to the craftsmen of this "Kyotsu". However, other weavers ask women to lower their wages. That's why we can't just raise the amount of money Kaneta Orimono has. It seems that I was told. What this means is 4400 yen per day. Under such circumstances, do you think that successors to such craftsmen will grow up? Concentration while continuing to do the same thing, accuracy that can not fail, and perseverance. And the technique to pass properly. This is the amount for this job. Mr. Kaneta wants to convey the current situation where it is difficult for successors to be born and grow, and to change it somehow. But I think it would be difficult for Kaneta to do it alone. The price of the fabric rises not only because of the wages involved in this process, but also due to the increase in the wages involved in "upstream" workers. The fabrics are used by clothing brands and manufacturers. Brands and manufacturers try to keep fabric prices as low as possible. The reason why brands and manufacturers try to keep fabric prices down is that if the price of fabric goes up even by 100 yen, the price of clothes will rise significantly. If the price of clothes rises, the hurdles to get customers to buy it will be higher, not to mention generally purchasing at retail stores. That kind of flow. People often ask why clothes that are generally said to cost a lot of money are expensive, but that is because the skills of the craftsmen involved are properly evaluated, and so that they can live a decent life. to do. element is also included. Of course, I also know brands that I think are "rip offs". On the other hand, even in fast fashion, there is always such a steady process, and the wrinkling of "too cheap selling prices" always affects those who work "upstream". I won't touch on fast fashion in this blog, but even in Japan it is said that there is a shortage of successors. "Tsutsushi" is also a process for making clothes, and when it comes to clothes, it is a job that cannot be seen and felt, but it is always done and requires "skills". It is a process. When clothes are lined up in stores, the selling price includes such "compensation for technology". Of course, proper clothes are only what you need, but I think you should be paid a "fair price" just enough to keep the job going. And I think it's a visible evaluation of those people. This is not only the end user who buys clothes, but there are really many people who don't even know the brands and manufacturers who actually make clothes. Also, a retail store that handles and sells clothes. Since I'm in the same industry, I really feel that I don't know anything about what clothing brands make, and I feel that there are a lot of things that are judged only by "appearance" and "price". It's so convenient now that it's pretty easy to guess which store is at what level by looking at Instagram. The words in the clothing materials provided by the brand, the way they are used as they are, and the content of the transmission that makes me wonder if they really understand and explain. As long as it is a store, it should be a clothing professional. If you deal with such clothes. The customers of "Kawakami" people are "Kawanaka" brands and manufacturers. The customers of people who are "midstream" are retailers who are "downstream". Japanese people still believe in the school-learned idea that price competition is a good thing. I believe that if the "midstream" and "downstream" approaches are changed even a little, the truly high technology of today will be appreciated and maintained, and even more wonderful technology will be born. It's a rough expression, but that's what I'm thinking. "Sutra" that will make you think more about it. In this way, the warp threads set one by one from the beam, Set on the shuttle loom. A heddle that moves the warp up and down to create a path for the weft, which is a triple weave of twill. It's like a panel that is lined up in the middle of the loom. Use the entire panel. This up-and-down motion is also very complicated, and each time a weft thread is inserted, the up-and-down direction of the warp thread is changed, but there is also a process for setting the order. This is called "pecking". It seems that it is easy to set up with an innovative loom that can weave fabrics quickly, but with the old shuttle loom, this is all done by hand and is a super analog design. It's really hard. The back is the warp. Red thread in front. This is the weft of the wool mohair into which it is driven. Mr. Ota of Kaneta Orimono took a picture of the actual weaving, so we posted it as a video on our Instagram. Please see the speed and sound of the shuttle loom and how the fabric is actually woven. ZZ strong twisted warp, triple weave, and mohair weft that even Kaneta Orimono has never used. In fact, it seems that it was difficult to weave it, but we were able to design the optimum balance between the compatibility of the thread and the structure, and the vertical and horizontal density. How about first? Is it because I've never done it before? It was said that the fabric is complete. Kaneta Orimono's unique dry touch, overwhelming toughness, and a touch that feels ultra-high resilience. It's a twill weave, but the slanting structure unique to the twill is erased by the binding thread in the triple weave, so I don't know what kind of structure it is. Red wool mohair weft appears intricately from the depths of the thin ZZ twisted warp. All of this works together to create a fabric that no one has ever seen before, and that can be said to have never existed anywhere else. A tremendous number of overflowing warp threads and thick weft threads driven into it. Since it is a triple weave, it simply has a structure equivalent to three pieces of fabric. I think that you can experience the "depth" of the masterpiece. This is the organization. I had never seen such a fabric under a microscope before. Fineness of ZZ two-ply hard twist with 1400 twists. The warp thread is thin like a wire and tightly twisted. On the other hand, thick wefts continue in many layers. The thick and shiny wool and mohair threads are visible. I have never seen this organization, let alone this combination of threads. Super impressed. I think you have created a very nice fabric. I think this fabric will surprise everyone. It is exactly the result of the "technology" of the people involved in the production of this fabric. Although it is a cotton-based fabric, please experience the potential of cotton fiber and the power of Kaneta Orimono. Continue. . .