Edo Komon Scarf: Flying Cranes (Ominaeshi) / Casting Net (Rikyu White Tea) — product view
A wearer adjusting the narrow patterned silk scarf at the neck against a plain wall.
A narrow yellow and grey-green silk scarf tied once at the neck over a plain white blouse.
A narrow yellow and grey-green silk scarf folded as a slim hair band in soft window light.
A model drawing one end of the yellow and grey-green silk scarf to the side in a quiet Japanese room.
Edo Komon Scarf: Flying Cranes (Ominaeshi) / Casting Net (Rikyu White Tea) — product view
A wearer adjusting the narrow patterned silk scarf at the neck against a plain wall.
A narrow yellow and grey-green silk scarf tied once at the neck over a plain white blouse.
A narrow yellow and grey-green silk scarf folded as a slim hair band in soft window light.
A model drawing one end of the yellow and grey-green silk scarf to the side in a quiet Japanese room.
Tomita Dyeing & Crafts Co., Ltd. SKU: BJ_P_00101

Edo Komon Scarf: Flying Cranes (Ominaeshi) / Casting Net (Rikyu White Tea)

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Regular price ¥35,266
Regular price Sale price ¥35,266
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Product Details

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

Bring a small line of yellow into the hair to frame the face. The narrow silk scarf gives the color a clear place without a large bow, adding a light, personal detail to a plain blouse.

A narrow yellow and grey-green silk scarf folded as a slim hair band in soft window light.

Silk Worn in the Hair

Wear the scarf in the hair for a relaxed alternative to a neck knot. Its fine crane and net patterns remain a subtle detail at this scale, while the yellow and pale tones brighten a simple outfit.

The narrow yellow-patterned silk scarf worn as a hair band in a bright room.

Adjusting the Small Knot

Try a small knot at the neck and adjust how much of each pattern is visible. The narrow silk form keeps the accent light, letting Flying Cranes and Casting Net add detail without filling the neckline.

A wearer adjusting the narrow patterned silk scarf at the neck against a plain wall.

Showing the Pattern in a Japanese Room

Let the ends fall over a plain shirt so the two patterned fields can be enjoyed together. Their gentle contrast and light silk texture give a familiar outfit an individual finish, with details that invite a closer look.

A model drawing one end of the yellow and grey-green silk scarf to the side in a quiet Japanese room.

OBJECT PASSPORT / CARE & USE

Care & Handling

Care summary for a 100% silk scarf: do not wash or bleach; use a low-temperature iron with a press cloth; professional dry cleaning is indicated.

Material: 100% silk. Do not wash or bleach. Use a low-temperature iron with a press cloth. For professional dry cleaning, follow the care label and show its F symbol to the cleaner before treatment. Handle this delicate material with care.

OBJECT PASSPORT

Product details

Dimensions
900 × H55 mm
Material
100% silk
Product weight
9 g
Origin
Japan

Design: Yuko Minamide. Craftsmanship: Atsushi Tomita.

Material: 100% silk. Made in Japan.

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

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 & Crafts 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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