Bundling materials, connecting to the future. Terashima Hotaraya Shoten's challenge with "Ito tabane"

Gold and silver thread has been a material deeply involved in Japanese attire and festival culture since ancient times. Threads made from pure gold and silver were once used in noble garments and continue to be used today in luxurious kimono and as decorative hangings for Shinto rituals and festivals. The historical value of gold and silver thread can be felt behind the scenes of the Gion Festival and the ceremonial aprons of sumo wrestlers.

"Ito tabane" is a brand born as simple accessories that make use of the "bundle" (taba) expression of such gold and silver threads. The word "tabane" (to bundle) reflects the idea of combining the inherent presence of the material itself with the wisdom of artisans, makers, and creators.

In Nishijin, Kyoto, there is a workshop that has continuously produced gold and silver threads, essential for festivals and Shinto rituals nationwide, including the Gion Festival.

Terajima Hotaraya Shoten, founded in 1897.
Even if their name rarely appears on the surface, they have certainly supported the "background of the main act" behind curtains and embroidery.

This time, we spoke with Mr. Terajima, the representative and gold and silver thread craftsman of Terajima Hotaraya Shoten, about their aspirations for "Ito tabane" and the current state of gold and silver thread manufacturing.

― First, please tell us about Terajima Hotaraya Shoten.

Terajima: We are a gold and silver thread manufacturer. We produce gold and silver threads that are then used in Nishijin-ori textiles, embroidery, festival curtains, and other items.
Even within gold and silver threads, there are various applications, and we tend to focus on gold and silver threads for embroidery used in "festivals and Shinto rituals," such as the curtains for the Gion Festival and the ceremonial aprons for sumo wrestling.

― How long has your history continued?

Terajima: We were founded in 1897. However, we incorporated the company after the war, so we are the 5th generation counting from the founding, or the 4th generation as a company. So we generally say we are the 4th generation. What's interesting is that the only basis for 1897 is that our name is listed in the association's chronology. It's very Kyoto-like, I guess (laughs).

― Honestly, what is the current situation in the Nishijin industry?

Terajima: At its peak, there were about 120 companies in the association, but now there are only 23. It's said that the entire Nishijin industry is less than a tenth of its peak.
From the outside, it might look glamorous with collaborations with luxury brands, but I believe only a very small number are actually continuing.

― What is the difference between "real gold" and "imitation" gold and silver thread?

Terajima: Even if they look similar, the way they shine, the process, and the underlying concept are completely different. For real gold, we apply lacquer to Japanese paper and press gold leaf sheet by sheet. It's because of the lacquer that the gold leaf's shine truly comes alive.
On the other hand, what is widely circulated is a film coated with silver, with color applied over it. Film shines with a "flashy" gleam. Real gold emits a somewhat subdued glow. If you see the real thing, you'll immediately notice the difference.

― Please tell us about the difficulties of technical succession.

Terajima: I believe that even with subsidies, many issues remain unresolved. Skills don't last unless you practice them daily. Moreover, gold and silver thread production is a division of labor. Lacquer, gold leaf, cutting, twisting—if one process stops, everything stops. The artisans are mainly in their 70s and 80s, and if one person quits, that entire process could disappear.
The workshop environment itself also tends to be unstable. Many smaller factories operate in rented spaces, and it's not uncommon for them to be told to "move out" due to inheritance or other reasons.

― Amidst all this, why accessories?

Terajima: "If things continue like this, it will disappear" – that's what I honestly thought.
Gold and silver thread as a material doesn't easily gain value unless it's processed into something. We always thought, "It has to be woven," "It has to be embroidered," "It has to be braided."
But then a jewelry designer said, "Isn't the gold and silver thread itself the most beautiful?" and it really struck me.

― What led to the form of "Ito tabane"?

Terajima: The form in which we usually hand over gold and silver threads to embroiderers is "bundled gold and silver threads."
At first, I wondered, "Is this really okay?" (laughs). But precisely because nothing is done to it, the beauty of the material itself shines through. That's why the concept of "tabane" (bundle) directly became the brand.

― What has been the response from overseas?

Terajima: It has increased since the end of the pandemic. Embroidery artists and textile artists sometimes come suddenly after researching online.
Also, at department stores we work with, inbound customers are increasingly telling us it's "very good."

― Finally, what hopes does Terajima Hotaraya Shoten entrust to "Ito tabane"?

Terajima: If it were just about not making money, we could quit. But there are things that would be problematic if they disappeared.
At the Gion Festival, and local festivals too, tens of thousands of people gather once a year. Our gold and silver threads sway at the heart of it all. I think we continue because we can feel, "Ah, we are being useful."

Editor's Note

Gold and silver thread is not a leading material. Yet, it has reliably played its role in the background to make the main act shine. "Ito tabane" is an attempt to bring the "very existence" of such a material into our daily lives.

To pass it on, we change its form.
Beyond the bundled light lies a challenge to connect to the future.