Edo Komon Double-sided dyed stole (Sumo pattern) Purple / Black
Model wearing the pale purple side of the double-sided sumo-pattern silk stole indoors
Close view of the purple and black faces of the sumo-pattern silk stole
Seated model wearing the black side of the reversible sumo-pattern silk stole indoors
Model holding both ends of the purple and black reversible sumo-pattern stole indoors
Woman wearing the black face of the reversible silk stole with the pale purple reverse visible at the folds
Close view of the black sumo motif and pale purple patterned face of the reversible silk stole held gently by adult hands
A model wearing the pale purple side of the reversible sumo-pattern silk stole beside a table and bright window.
A model holding the black and pale purple faces of the reversible sumo-pattern silk stole open in a Japanese room.
Edo Komon Double-sided dyed stole (Sumo pattern) Purple / Black
Model wearing the pale purple side of the double-sided sumo-pattern silk stole indoors
Close view of the purple and black faces of the sumo-pattern silk stole
Seated model wearing the black side of the reversible sumo-pattern silk stole indoors
Model holding both ends of the purple and black reversible sumo-pattern stole indoors
Woman wearing the black face of the reversible silk stole with the pale purple reverse visible at the folds
Close view of the black sumo motif and pale purple patterned face of the reversible silk stole held gently by adult hands
A model wearing the pale purple side of the reversible sumo-pattern silk stole beside a table and bright window.
A model holding the black and pale purple faces of the reversible sumo-pattern silk stole open in a Japanese room.
Tomita Dyeing & Crafts Co., Ltd. SKU: BJ_P_00106

Edo Komon Double-sided dyed stole (Sumo pattern) Purple / Black

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Product Details

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

Let the black face lead when you want a stronger line over a pale blouse. A glimpse of purple softens the contrast, while the fine sumo motif gives this long silk drape detail at closer range.

Woman wearing the black face of the reversible silk stole with the pale purple reverse visible at the folds

A Light Gesture by the Table

Turn the pale purple face toward the neckline for a gentler indoor look. The reversible silk allows the darker edge to remain visible, bringing two tones into a light adjustment rather than a completely different accessory.

A model wearing the pale purple side of the reversible sumo-pattern silk stole beside a table and bright window.

A Closer Look at the Sumo Motif

Open both faces in your hands and explore the repeated sumo figures. The same motif reads differently against black and pale purple, giving you a reason to look closely before deciding how to drape the stole.

Close view of the black sumo motif and pale purple patterned face of the reversible silk stole held gently by adult hands

Pale purple at the neckline

Gather pale purple loosely around the neck to soften a simple shirt. Fine pattern remains visible through the folds, while a narrow black edge gives the arrangement definition without dominating it.

Model wearing the pale purple side of the double-sided sumo-pattern silk stole indoors

Both faces in one view

Before dressing, place the two faces together and compare their effect. Pale purple reveals the motif gently, while black creates stronger contrast, letting you choose a balance that suits the clothing and occasion.

Close view of the purple and black faces of the sumo-pattern silk stole

Open the Two Faces in a Japanese Room

Lift the long stole and settle it over the shoulders with a different face on each side. Its reversible design makes the turn of the fabric part of the look, bringing variety to a single silk accessory.

A model holding the black and pale purple faces of the reversible sumo-pattern silk stole open in a Japanese room.

The darker face in a quiet room

Keep the darker face in view for a quiet evening indoors. The fine repeated motif lends depth to black silk, making a simple drape feel considered while leaving the rest of the outfit restrained.

Seated model wearing the black side of the reversible sumo-pattern silk stole indoors

The full reversible span

Let both ends fall freely when you want to enjoy the full length of the pattern. The silk forms an easy line over plain clothing, with the purple reverse available to reveal through a small turn of the edge.

Model holding both ends of the purple and black reversible sumo-pattern stole indoors

OBJECT PASSPORT / CARE & USE

Care & Handling

Care summary stating that washing, ironing, and outdoor use are not permitted for this silk stole

Do not wash, iron, or use this silk stole outdoors.

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

TRADITIONAL CRAFT PROCESS

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.

A representative of Tomita Dyeing and Crafts standing at the workshop entrance in Waseda, Tokyo
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.
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