Edo Komon Pocket Square: Gosho-guruma (Light Green) × Maru-tōshi (Lapis Blue)
Model holding the folded pocket square with both Gosho-guruma and Maru-toshi patterns visible.
Side view of a model holding the silk pocket square in a softly lit interior.
Model presenting the folded Tokyo Some-Komon pocket square at close conversational distance.
Light-green and lapis-blue Tokyo Some-Komon pocket square folded in a jacket breast pocket
Model seated on a sofa looking down at the folded light-green and lapis-blue Tokyo Some-Komon pocket square.
Edo Komon Pocket Square: Gosho-guruma (Light Green) × Maru-tōshi (Lapis Blue)
Model holding the folded pocket square with both Gosho-guruma and Maru-toshi patterns visible.
Side view of a model holding the silk pocket square in a softly lit interior.
Model presenting the folded Tokyo Some-Komon pocket square at close conversational distance.
Light-green and lapis-blue Tokyo Some-Komon pocket square folded in a jacket breast pocket
Model seated on a sofa looking down at the folded light-green and lapis-blue Tokyo Some-Komon pocket square.
Tomita Dyeing & Crafts Co., Ltd. SKU: BJ_P_00097

Edo Komon Pocket Square: Gosho-guruma (Light Green) × Maru-tōshi (Lapis Blue)

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Regular price Sale price ¥16,102
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Product Details

PRODUCT DETAILS

Two Tokyo Some-Komon patterns in one silk square

Two Tokyo Some-Komon patterns meet in one 350 mm square of 100% silk: the light green Gosho-guruma motif and the lapis-blue Maru-toshi field. Designed by Yuko Minamide and crafted by Atsushi Tomita, this pocket square balances a quiet sheen with fine patterning that becomes clearer at close range.

USE & APPRECIATION

Add a measured accent to a jacket

Finish a dark jacket with a small meeting of light green and lapis blue. Fold the silk to reveal both patterned fields at the pocket edge, adding a cool accent that remains restrained from a distance.

Light-green and lapis-blue Tokyo Some-Komon pocket square folded in a jacket breast pocket

Two patterns held together

Explore the two patterns in your hands before choosing a fold. Light green Gosho-guruma and the lapis-blue dot grid offer different rhythms, letting one small silk square change the balance of an outfit.

Model holding the folded pocket square with both Gosho-guruma and Maru-toshi patterns visible.

A closer side view of the silk

Turn the silk gently in soft indoor light and notice how the sheen follows the folds. Fine patterning comes forward at close range, giving the pocket square interest beyond its first impression of color.

Side view of a model holding the silk pocket square in a softly lit interior.

A Relaxed Moment on the Sofa

Take a relaxed moment to try how much of each field you want to show. The lightweight silk gathers easily, allowing a broader pale accent or a narrow blue edge to give the same jacket a different character.

Model seated on a sofa looking down at the folded light-green and lapis-blue Tokyo Some-Komon pocket square.

Pattern and sheen at conversational distance

Let the contrasting fields meet loosely in your hands before settling on a fold. Their fine patterns reward close attention, bringing the pleasure of Tokyo stencil dyeing into a small detail of everyday dressing.

Model presenting the folded Tokyo Some-Komon pocket square at close conversational distance.

OBJECT PASSPORT / CARE & USE

Care & Handling

Care panel for the silk pocket square: do not launder or dishwash; use a low-temperature iron with a pressing cloth; do not heat, refrigerate, freeze, or use outdoors.

This 100% silk pocket square is made from a delicate material. Handle it carefully, do not launder it, and use a low-temperature iron with a pressing cloth.

OBJECT PASSPORT

Product details

Dimensions
350 × 350 mm
Material
100% silk
Product weight
7 g
Origin
Japan

Designed by Yuko Minamide and crafted by Atsushi Tomita. Hand-carved Ise stencil paper can leave variations in the dyeing, a characteristic distinct from printed uniformity. Made in Japan from 100% silk.

The light-green Gosho-guruma panel is identified as a family-crest motif, while the lapis-blue Maru-toshi field is identified as a grid of dots.
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.

Person standing outside the Tomita Dyeing & Crafts workshop 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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M
M.T.

The silk feels very smooth and comfortable to the touch, and I especially like the delicate patterns and beautiful color combination.The fine details are subtle but become more noticeable when you look closely.
I also appreciate that this traditional Japanese craftsmanship has been made into something I can easily use in everyday life. It looks great with a jacket and adds a subtle Japanese touch without being too formal.
The quality and craftsmanship are excellent, and I feel the price reflects the care and skill that went into making it. The item was also carefully packaged and arrived in excellent condition.
I’m very happy with this purchase and look forward to using it for both business and special occasions.