Edo Komon Double-sided dyed stole (Sumo pattern) Purple / Black
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Product Details
PRODUCT DETAILSA Reversible Field of Edo PatternThis silk stole presents two distinct faces: pale purple and black, each carrying a dense sumo motif. Its long proportion lets the pattern read through folds, drapes, and close detail. The double-sided design offers a deliberate...
PRODUCT DETAILS
A Reversible Field of Edo Pattern
This silk stole presents two distinct faces: pale purple and black, each carrying a dense sumo motif. Its long proportion lets the pattern read through folds, drapes, and close detail. The double-sided design offers a deliberate change of tone while preserving the same finely repeated visual rhythm.
USE & APPRECIATION
Black for a Sharper Line
Turn the black face outward when a darker line suits the clothing beneath it. The pale figures remain visible across the surface, while glimpses of purple at the folds make the reversible construction easy to notice. Keep the arrangement simple and allow both faces to share the frame.
A Light Gesture by the Table
By the window, the model steadies the pale purple face with one hand while lifting the other toward her hair. This face-visible gesture differs from the existing two-handed neckline view, keeping the fine sumo repeat, soft folds, and wearable scale clear in a calm interior.
A Closer Look at the Sumo Motif
Bring one section closer to eye level and pause over the small figures woven across the view by dye and repetition. The motif becomes clearer at short distance, where individual poses can be noticed. Let the black and purple areas meet in the frame for an immediate comparison.
Pale purple at the neckline
The pale purple face sits softly around the neck, with the small sumo figures visible across each fold. This supplied photograph shows how the long stole reads against a plain light shirt while keeping the pattern and its scale clear.
Both faces in one view
A close view places pale purple beside black, making the reversible construction immediately legible. The folds also reveal how the same sumo motif changes in contrast between the two color fields without separating the textile from its worn context.
Open the Two Faces in a Japanese Room
In the Japanese-room setting, the model raises the stole across both hands before arranging it around the neck. This open presentation differs from the existing shoulder-draped pose and brings the black and pale purple faces into one clear, face-visible view.
The darker face in a quiet room
With the black face turned outward, the pale sumo figures become crisp points of detail around the shoulders. The supplied room setting keeps attention on the textile’s length, drape, and reversible contrast rather than adding an unrelated styling claim.
The full reversible span
Held across the body, the stole shows its long span and the relationship between the purple and black faces. This supplied photograph provides a straightforward view of the two color fields while the model’s hands establish a practical sense of scale.
OBJECT PASSPORT / CARE & USE
Care & Handling
The reviewed photographs contain no additional care text. Washing, ironing, and outdoor use remain marked as not permitted in the current product master.
OBJECT PASSPORT
Product details
Dimensions
1800 H350 mm
Material
100% silk
Product weight
86 g
Origin
Japan
Craft Heritage
CRAFT HERITAGE
Craft Heritage
The origins of komon dyeing reach back to the Muromachi period, but the practice became widespread during the Edo period. A production center developed in Edo to dye the formal kamishimo worn by feudal lords who gathered there from across Japan.
Initially associated with samurai dress, komon spread among townspeople in the mid-Edo period and flourished under the influence of urban culture. It was worn by both men and women during the Edo period, but became exclusively women’s attire in the Meiji period.
How It’s Made
HOW IT’S MADE
How It’s Made
About the Making Process
Tokyo Some-Komon is produced in a single workshop, from preparing the colored paste through final drying. An approximately 20-centimeter stencil is placed repeatedly along a bolt of white fabric about 12 meters long, with precise alignment required to create an uninterrupted fine pattern. To reproduce the carver's design accurately, the dyer monitors the condition of the fabric, stencil, and paste throughout the process.
1. Carving the Stencil
Two or three sheets of handmade washi are laminated with persimmon tannin to create the stencil paper.
The carver cuts the intricate pattern using awls, small knives, and specially made carving tools.
2. Preparing the Colored Paste
Glutinous rice flour, rice bran, and a small amount of salt are mixed, steamed, and kneaded into a base paste. Dyes are then added.
The base color and pattern color are adjusted through repeated test dyeing.
3. Applying the Stencil Paste
White silk is stretched taut across a long, solid fir board. A cypress spatula is used to press resist paste through the stencil.
The stencil is repositioned along an approximately 12-meter bolt by aligning tiny registration points called okuriboshi. Its moisture is carefully controlled because drying can alter the stencil’s dimensions and disrupt the alignment.
4. Drying on the Board
The resist paste is dried while the fabric remains attached to the board. For multicolored designs, the stencil application is repeated.
5. Ground-Color Dyeing (Shigoki)
Once the resist is dry, the fabric is removed from the board and ground-color dye paste is spread evenly across the surface with a large spatula.
6. Steaming
Before the dye paste dries, the fabric is steamed at 90–100°C for approximately 15–30 minutes to set the color.
7. Washing
The steamed fabric is thoroughly rinsed to remove the resist paste and excess dye.
8. Drying and Finishing
The fabric is dried, returned to its proper width through a steam-finishing process called yu-noshi, and carefully inspected.
Meet the Maker
MEET THE MAKER
Meet the Maker
MAKER · WASEDA, TOKYO
Patterns That Reveal Themselves Slowly
At its Waseda workshop, Tomita Dyeing & Crafts continues Tokyo Some Komon and Edo Sarasa using Ise *katagami* stencils, while also applying its dyeing knowledge to accessories and objects for contemporary life.
Atsushi Tomita, Fifth Generation
For Atsushi Tomita, dyeing was part of daily life long before it became his profession. From childhood, his mornings began alongside the workshop’s resident craftspeople, cleaning the garden and workspaces before school; after class, he returned to help with the family trade. He later worked for a women’s apparel company, then came home to the workshop at age 31. In 2006, he became its fifth-generation president.
That path—rooted in the workshop but informed by the wider world of fashion—still shapes his approach. Tomita carries forward inherited skill while looking for new patterns, colors, and forms that make Tokyo dyeing meaningful now.
A Workshop Shaped by Tokyo
The workshop was founded in Asakusa in 1882 and moved upstream to Waseda in 1914, when dye houses were seeking the cleaner water of the Kanda River. There, generations of makers have practiced Tokyo Some Komon and Edo Sarasa using Ise katagami stencils.
Tokyo Some Komon rewards a closer look: what first appears to be a quiet field of color resolves into an extraordinarily fine repeating pattern. Edo Sarasa builds a different kind of depth, layering motifs and color through successive hand processes. In both, the result depends on more than a design. It depends on how a stencil is placed, how paste and dye are prepared, and how consistently the maker works across a length of cloth.
Tradition, Kept Alive Through Use
Tomita does not see continuity as repetition. Through the workshop’s SARAKICHI line, inherited dyeing knowledge has moved beyond kimono into accessories and objects for contemporary life. The purpose is not to make tradition look new for its own sake, but to let the qualities that made it endure—restraint, wit, rhythm, and exacting handwork—remain useful and felt.
A Clear Line Back to Waseda
Buying from another country should not make the origin of the work abstract. The sequence shown here—Tomita, the Waseda workshop, an Ise *katagami* stencil, the preparation of color paste, and the dyed surface—keeps the chain of making visible. Together, these details show where the practice continues, who carries it forward, and why the finished surface bears the character of work done by hand.
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Damage or incorrect delivery
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