Edo Komon Scarf: Flying Cranes (Hibiscus) / Casting Net (Rikyu White Tea)
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Product Details
PRODUCT DETAILSTwo Auspicious Patterns, One Line of SilkThis 100% silk Tokyo Some-Komon scarf brings together Flying Cranes in green-cast yellow and Casting Net in pale grey-green. Its narrow proportions give the finely repeated patterns a clear place at the neck or in...
PRODUCT DETAILS
Two Auspicious Patterns, One Line of Silk
This 100% silk Tokyo Some-Komon scarf brings together Flying Cranes in green-cast yellow and Casting Net in pale grey-green. Its narrow proportions give the finely repeated patterns a clear place at the neck or in the hair, while a closer view reveals the disciplined scale of the stencil-dyed surface.
USE & APPRECIATION
Color Framing the Face
Fold the scarf into a slim hair band so that a yellow patterned tip remains visible near the side. The compact width places color close to the face, and the silk catches window light softly. The supplied photographs show this use without changing the scarf's structure or adding hardware.
Silk Worn in the Hair
Folded into a slim hair band, the scarf brings a small area of patterned yellow close to the face. The supplied photograph shows the compact width and how the pointed end remains visible without added fasteners.
Adjusting the Small Knot
The wearer adjusts the scarf with both hands against a plain wall, drawing attention to the small knot and contrasting patterned ends. The uncluttered setting keeps the scale and drape of the narrow silk piece clear.
Showing the Pattern in a Japanese Room
In a quiet Japanese room, the model draws one patterned end gently to the side to bring its fine repeat into view. The outward gesture is distinct from the existing knot-adjusting pose and gives the slim scarf a wider line against the restrained interior.
OBJECT PASSPORT / CARE & USE
Care & Handling
Material: 100% silk. Do not wash or bleach. Use a low-temperature iron with a press cloth. Professional dry cleaning is indicated by the supplied label. Handle this delicate material with care.
Material: 100% silk. Do not wash or bleach. Use a low-temperature iron with a press cloth. Professional dry cleaning with an F solvent is indicated. Handle with care.
Flying Cranes is an auspicious motif associated with wishes for long life.
Ominaeshi is a clear yellow with a green cast, named for the flower of the perennial plant.
Casting Net is an old auspicious motif, associated with gathering in good things from a wide reach.
Rikyu-shiracha is a pale tea-brown with a greenish cast.
Material: 100% silk. Made in 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.
Shipping Information
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Damage or incorrect delivery
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