Kihachijo is a dyed and woven fabric deeply imbued with the nature and history of Hachijojima. Due to its unique beauty, Kihachijo has long been used as a tribute to the mainland, with its quality strictly controlled. This history of tribute dates back to the Muromachi period, and during the Edo period, the shogunate even sent officials to Hachijojima.
Hachijojima is located 287 kilometers south of Tokyo Bay, just a 50-minute flight away. Kihachijo lives on this gourd-shaped island, where two undersea volcanoes merged in ancient times. This land has long been known as "Nakanogo for dyeing and weaving," and in this area lies the Kihachijo workshop, Kihachijo Meyu Kobo. We visited Yamashita Fumiko and Homare, the couple who create Kihachijo, a fabric woven with innovative designs and exceptional skill, incorporating a long history and traditional techniques.

-I heard that Kihachijo is dyed using materials found on Hachijo Island.

Yes, Kihachijo only comes in three colors: a vibrant golden yellow dye made with a grass called "Kariyasu"; a birch dye made with the bark of the Madami tree, which grows wild on the island, and which resembles the color of ripe mountain peaches; and a black dye made with a decoction of chestnut bark that has been dried for two to three years. All three dyes use materials found on Hachijo Island.

-I was impressed by the richness of the colors and patterns, which is hard to believe are woven from just three colors.

Mr. Yoshitaka Yanagi once said, "Kihachijo is made with just three colors. It can be done with just three colors. That's what's so amazing." While we do use intermediate colors that emerge during the dyeing process, there are actually three color systems. I feel that the possibilities for expression are endless even with the shades of the three colors. Of all the dyed and woven fabrics in Japan, Kihachijo is the only one that lacks indigo dyeing and kasuri (kasuri), and I think the best thing about Kihachijo is that it doesn't have those features. Kihachijo only has straight lines and three colors. It's very restrictive. When I go to traditional crafts events, people often say, "It must be hard with only three colors, and there's no kasuri either," but I always reply, "I'm happy we don't have them." (laughs)

--The idea that "it's good to have nothing" seems to have something in common with the life of Hachijojima, where people live in a natural environment that's been given to them.

That's right. Hachijo "doesn't have them." They don't come into Hachijo. That's all there is. I think the lack of things that always exist is something that the environment of Hachijojima and Kihachijo share. Utilizing what's given, things will become what they are. It's about "knowing enough."

- I just had the opportunity to watch you weave Kihachijo on the loom, and I was surprised by the unexpectedly powerful sound of the loom. What are you thinking about when you weave Kihachijo, Fumiko?

When you're weaving, it's best not to think. You have to be empty-headed. Weavers often say that they weave with the thought of who will wear it in mind, but I also tell the weavers in my workshop, "Just weave with an empty mind." In other words, it's the customer who buys it who puts their thoughts into it. Kimono are only made on special occasions or for special occasions, aren't they? Kimonos are for special occasions, aren't they? So I think the thought that "this kimono was made for that occasion" is something that the customer should put into it, not the maker. That's why I tell them to weave with an empty mind.

--The work you showed me earlier by Fumiko features a gradational color pattern that combines the basic color of Kihachijo with intermediate colors. Do you experiment with dyeing techniques to weave the gradations of subtly different tones?

No, not at all. I watch Homare-san dyeing thread in the garden, and if there's a color I want to use, I just pick it out. I say, "That's good, we'll use this."

--That's because Homare-san, who is in charge of dyeing, and Fumiko-san, who is in charge of weaving, dye and weave together at Meyu Kobo.

That's true. They can dye, weave, and even deliver to wholesalers. There aren't many production sites like that. So, while it's a joyous occasion, it also comes with a great responsibility.

--How was this amazing technique passed down from your predecessors?

With dyeing, it's passed down orally. Orally. With weaving, you can weave anything if you have a weaving diagram, so I once saw a sofa cover at Professor Yoshitaka's house and said, "Uncle Yanagi, I want to weave this," and he drew me a weaving diagram. But it was too much trouble, so I didn't weave it again (laughs). I'm a bit of a try-hard, and I want to weave anything at least once.

-I heard that you hadn't been able to get the beautiful golden yellow dye in recent years because you hadn't been able to get the color you wanted. Is there a reason why you weren't able to get a good color?

So the grass wasn't doing well.

-It really is a dyeing and weaving process that is created in tandem with nature.

That's right. So, in the last few years, when the grass wasn't doing well, I decided to stop dyeing and didn't dye the yellow. Typhoons also have an impact. When a typhoon comes, salt falls from the sea on Hachijo. It's that intense. That's why the leaves of grass turn brown due to salt damage. During the Edo period, salt damage caused food to disappear completely, and it is said that people sometimes starved to death until sweet potatoes were introduced to the island. That's how great the damage caused by salt was. Even now, when flights and boats are canceled, the supermarkets are left with nothing.

Continued in the second part.