Edo Komon Double-sided dyed stole (Otafuku pattern) Purple / Blue
A seated wearer draped in the blue and purple double-sided silk stole in a living room.
A wearer adjusting the pale blue side of the double-sided silk stole at the neck.
A wearer presenting the purple side of the double-sided silk stole while seated indoors.
An adult wearer drapes the pale blue and purple faces of the double-sided silk stole together over a neutral outfit.
A model wearing the pale blue and purple double-sided silk stole at a dark table.
A seated model wearing the long pale blue face of the double-sided silk stole in a quiet Japanese room.
Edo Komon Double-sided dyed stole (Otafuku pattern) Purple / Blue
A seated wearer draped in the blue and purple double-sided silk stole in a living room.
A wearer adjusting the pale blue side of the double-sided silk stole at the neck.
A wearer presenting the purple side of the double-sided silk stole while seated indoors.
An adult wearer drapes the pale blue and purple faces of the double-sided silk stole together over a neutral outfit.
A model wearing the pale blue and purple double-sided silk stole at a dark table.
A seated model wearing the long pale blue face of the double-sided silk stole in a quiet Japanese room.
Tomita Dyeing & Crafts Co., Ltd. SKU: BJ_P_00105

Edo Komon Double-sided dyed stole (Otafuku pattern) Purple / Blue

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Regular price ¥55,976
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Product Details

PRODUCT DETAILS

Two Colors, One Field of Fine Pattern

This one-of-a-kind Tokyo Some-Komon stole is dyed for two distinct expressions: pale blue on one face and purple on the other. Made from 100% silk and measuring 1,800 × 350 mm, it can reveal both colors in a single drape while the fine Otafuku pattern rewards a closer look.

USE & APPRECIATION

Blue and Purple in One Drape

Let blue and purple meet in a loose drape over a simple blouse. The two dyed faces offer a clear contrast, while the fine Otafuku pattern brings detail to a relaxed, everyday setting.

An adult wearer drapes the pale blue and purple faces of the double-sided silk stole together over a neutral outfit.

Two Colors Gathered at the Table

Gather the stole lightly at the neck and choose how much purple to reveal beside the blue. A small turn of the silk changes the balance, letting one accessory give familiar clothing a different expression.

A model wearing the pale blue and purple double-sided silk stole at a dark table.

A Long Drape in a Quiet Japanese Room

Wear the stole long when you want its fine pattern to remain open to view. The pale blue face brings a soft accent down the front of a plain shirt, with the silk's length creating an easy vertical line.

A seated model wearing the long pale blue face of the double-sided silk stole in a quiet Japanese room.

Color for a Quiet Interior

Settle into an indoor conversation with the blue face near the neckline and purple showing below. The reversible design makes this contrast part of the drape, adding visual interest without needing another accessory.

A seated wearer draped in the blue and purple double-sided silk stole in a living room.

Both Faces Adjusted by Hand

Adjust the two faces gently by hand until the colors sit as you like. The fine pattern continues through the folds, allowing the way you arrange the silk to become a personal part of the outfit.

A model looking down while adjusting both faces of the blue and purple silk stole on a sofa.

Purple as the Leading Color

Bring the purple face forward for a deeper accent against pale clothing. A glimpse of blue at the edge keeps the reversible character visible, giving the same stole a new emphasis for another occasion.

A wearer presenting the purple side of the double-sided silk stole while seated indoors.

OBJECT PASSPORT / CARE & USE

Care & Handling

Care summary: 100% silk; machine washing and ironing are not permitted.

Material: 100% silk. Do not machine wash or iron.

OBJECT PASSPORT

Product details

Dimensions
1800 H350 mm
Material
100% silk
Product weight
89 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 & 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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