Edo Sarasa Double-Woven Stole Resembling a Celestial Maiden’s Robe (Blue)
The blue silk stole draped around a seated wearer’s neck over a white shirt.
A wearer adjusting one end of the blue silk stole while it is gathered at the neck.
A seated wearer with the blue silk stole spread broadly across the shoulders and lap.
A seated model wearing the blue silk stole with both hands resting together at a dark table.
A seated model wearing the blue silk stole spread across the torso and lap on a grey sofa.
Edo Sarasa Double-Woven Stole Resembling a Celestial Maiden’s Robe (Blue)
The blue silk stole draped around a seated wearer’s neck over a white shirt.
A wearer adjusting one end of the blue silk stole while it is gathered at the neck.
A seated wearer with the blue silk stole spread broadly across the shoulders and lap.
A seated model wearing the blue silk stole with both hands resting together at a dark table.
A seated model wearing the blue silk stole spread across the torso and lap on a grey sofa.
Tomita Dyeing & Crafts Co., Ltd. SKU: BJ_P_00103

Edo Sarasa Double-Woven Stole Resembling a Celestial Maiden’s Robe (Blue)

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Regular price ¥119,612
Regular price Sale price ¥119,612
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Product Details

PRODUCT DETAILS

Blue Silk, Layered with Edo Sarasa

This 100% silk Edo Sarasa stole pairs a light, translucent presence with layered blue floral color. Its double-woven Kawamata habutae fabric is dyed by Tomita Dyeing & Crafts. At 2,000 x 640 mm, it creates a generous drape while its fine patterned surface invites a closer look.

USE & APPRECIATION

Blue Silk Draped at the Neck

Let the blue silk fall loosely at the neck over a plain blouse. Its translucent layers allow the clothing beneath to remain visible, while the floral pattern adds depth without making the outfit feel visually heavy.

The blue silk stole draped around a seated wearer’s neck over a white shirt.

A Composed Pause at the Table

Enjoy an unhurried conversation at the table with the stole softly gathered in front. The double-woven silk creates changing shades of blue in its folds, giving a simple indoor outfit a generous, finely patterned accent.

A seated model wearing the blue silk stole with both hands resting together at a dark table.

Adjusting the Fold by Hand

Lift one end and try a looser wrap around the face and shoulders. The lightweight silk moves easily, and each overlapping fold changes the blue floral pattern, offering several expressions from the same stole.

A wearer adjusting one end of the blue silk stole while it is gathered at the neck.

Blue Spread Across the Sofa

Open the fabric across your lap as you settle into a favorite seat. Its generous width reveals the floral design beyond the neckline, letting you enjoy the fine dyed pattern before choosing a closer wrap.

A seated model wearing the blue silk stole spread across the torso and lap on a grey sofa.

A Broad Drape While Seated

Spread the stole broadly across the shoulders for a more enveloping drape. The sheer blue silk keeps the outline light, bringing layered color to relaxed seating or an indoor gathering without a bulky silhouette.

A seated wearer with the blue silk stole spread broadly across the shoulders and lap.

OBJECT PASSPORT / CARE & USE

Care & Handling

Care summary for the blue 100% silk Edo Sarasa double-woven stole.

Follow the care label. Do not wash or bleach. Use a low-temperature iron with a pressing cloth. Use professional dry cleaning with a petroleum solvent. Handle this delicate material with care.

OBJECT PASSPORT

Product details

Dimensions
2000× H640 mm
Material
100% silk
Product weight
25 g
Origin
Japan

This stole combines Kawamata silk with hand dyeing by Tomita Dyeing & Crafts, using approximately 43 stencils.
Craft Heritage

CRAFT HERITAGE

Craft Heritage

Sarasa originated in India more than 3,000 years ago and spread across Asia and Europe, developing in ways that reflected the cultures of each region. It is believed to have reached Japan during the Muromachi and Momoyama periods, between the 14th and 16th centuries.

Edo Sarasa emerged from the middle to the late Edo period. By the closing years of the period, stencil-printing specialists had established a distinctly Japanese form of sarasa that became widely known.

Its designs often stylize flowers, plants, birds, animals, and human figures, combining an exotic visual character with the climate and aesthetic sensibilities of Japan. Depending on the design, artisans layer color through approximately 20 stencils, or as many as 90 for more intricate patterns.

Subtle shading, softly blended effects, delicate tonal gradations, and a subdued palette shaped by Tokyo's water are defining characteristics of the craft.
How It’s Made

TRADITIONAL CRAFT PROCESS

How It’s Made

About the Making Process

Edo Sarasa is created by layering multiple stencils and colors by hand to form patterns on cotton or silk.
Even a relatively simple design may require 20 to 30 stencils, while an intricate pattern may use as many as 90.
The artisan plans the palette around the fabric's ground color and the customer's order, then mixes the dyes with careful attention to how the colors will appear when layered.

1. Making the Stencils
  • Sheets of handmade washi are laminated with persimmon tannin to form traditional stencil paper.
  • The design is cut into the prepared paper to create the stencils.
2. Planning the Ground Color and Palette
  • The artisan considers the fabric's ground color and the customer's order when selecting the colors for the pattern.
  • The full palette is planned with careful attention to the appearance of overlapping colors.
3. Dyeing the Ground Color
  • Cotton or silk fabric is given its ground color using hikizome, a method of applying dye across the fabric with a brush.
  • This establishes the overall color of the cloth before the patterned colors are applied.
4. Preparing the Printing Paste and Dyes
  • A printing paste is prepared from glutinous rice flour, rice bran, salt, and other ingredients for use in stencil dyeing.
  • The dyes are mixed with careful consideration of how each color will appear when layered with the others.
5. Hand Stencil Dyeing
  • Each stencil is positioned on the fabric, and color is rubbed through it by hand with a brush.
  • Depending on the design, approximately 20 to 90 stencils are carefully aligned and used in succession to build the pattern.
  • The artisan adjusts the pressure and movement of the brush to create subtle shading, softly blended effects, and delicate tonal gradations.
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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