Edo Komon Clutch bag, Natural
The natural leather clutch opened while seated in a tatami room.
The natural leather Edo Komon clutch opened carefully across the lap in a quiet tatami room.
The natural leather Edo Komon clutch carried beside deep green garden foliage in soft outdoor light.
A seated model guiding the natural leather Tokyo Some-Komon clutch closed in a tatami room.
Edo Komon Clutch bag, Natural
The natural leather clutch opened while seated in a tatami room.
The natural leather Edo Komon clutch opened carefully across the lap in a quiet tatami room.
The natural leather Edo Komon clutch carried beside deep green garden foliage in soft outdoor light.
A seated model guiding the natural leather Tokyo Some-Komon clutch closed in a tatami room.
Tomita Dyeing & Crafts Co., Ltd. SKU: BJ_P_00107

Edo Komon Clutch bag, Natural

Price
Regular price ¥64,340
Regular price Sale price ¥64,340
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Product Details

PRODUCT DETAILS

Tokyo Some-Komon, Carried in Leather

This natural-toned cow-leather clutch brings the fine visual rhythm associated with Tokyo Some-Komon into a contemporary accessory. A plain folded flap meets a patterned lower surface, making the 310 × 180 mm form restrained from a distance and increasingly detailed as it comes closer.

USE & APPRECIATION

An Interior Seen on Opening

Open the clutch as you settle into a quiet room and arrange a few personal items. The broad flap changes its compact outline, revealing how plain natural leather and fine pattern come together in one useful form.

The natural leather Edo Komon clutch opened carefully across the lap in a quiet tatami room.

Natural Tone in Garden Light

Pair the natural leather clutch with pale, simple clothing for a warm, restrained accent. Its patterned lower surface adds detail at hand distance, while the clean folded flap keeps the overall silhouette calm.

The natural leather Edo Komon clutch carried beside deep green garden foliage in soft outdoor light.

Opening the Clutch in a Tatami Room

Keep the clutch in your lap while opening it during an indoor visit. The wide envelope form makes the movement simple, with warm leather and fine pattern adding interest to an otherwise ordinary gesture.

The natural leather clutch opened while seated in a tatami room.

Closing the Form in a Japanese Room

Fold the flap closed after arranging your belongings and enjoy the return to a clean silhouette. The plain leather above the patterned surface gives the clutch a balanced look that sits naturally with understated clothing.

A seated model guiding the natural leather Tokyo Some-Komon clutch closed in a tatami room.

OBJECT PASSPORT / CARE & USE

Care & Handling

Care summary: cow leather; machine washing and ironing are not permitted.

Material: cow leather. Do not machine wash or iron.

OBJECT PASSPORT

Product details

Dimensions
310 H180 mm
Material
Cow leather
Product weight
210 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 Waseda workshop entrance in 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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