Edo Sarasa Double-woven stole resembling a celestial maiden’s robe (green)
A woman wearing the green Edo Sarasa silk stole near a window
The green double-woven silk stole held open to show its translucence and fringe
A seated model wearing the green Edo Sarasa silk stole broadly draped across her shoulders and lap.
A model holding the two hanging sides of the green Edo Sarasa silk stole in a quiet Japanese room.
A model wearing the green Edo Sarasa silk stole high around her neck in soft garden light.
Edo Sarasa Double-woven stole resembling a celestial maiden’s robe (green)
A woman wearing the green Edo Sarasa silk stole near a window
The green double-woven silk stole held open to show its translucence and fringe
A seated model wearing the green Edo Sarasa silk stole broadly draped across her shoulders and lap.
A model holding the two hanging sides of the green Edo Sarasa silk stole in a quiet Japanese room.
A model wearing the green Edo Sarasa silk stole high around her neck in soft garden light.
Tomita Dyeing & Crafts Co., Ltd. SKU: BJ_P_00104

Edo Sarasa Double-woven stole resembling a celestial maiden’s robe (green)

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

PRODUCT DETAILS

A Veil of Edo Sarasa in Green

This one-of-a-kind 100% silk Edo Sarasa stole layers green, burgundy, and botanical detail across a translucent double-woven cloth. At 2,000 × 640 mm and just 25 g, it can be wrapped, draped, or opened wide to reveal changing overlaps of color and pattern.

USE & APPRECIATION

Color at the Window

Gather the stole loosely at the neck in soft indoor light. Green and burgundy botanical detail gains depth where the sheer layers overlap, giving simple clothing a lively accent that changes with the fold.

A woman wearing the green Edo Sarasa silk stole near a window

A Full Drape on the Sofa

Let the stole extend across the shoulders and lap as you settle on the sofa. Its generous silk length reveals more of the botanical pattern, while the translucent cloth keeps the broad drape visually light.

A seated model wearing the green Edo Sarasa silk stole broadly draped across her shoulders and lap.

The Double Weave in Motion

Open the stole gently between your hands to explore the two transparent layers. Green and burgundy shift in density as the fabric overlaps, making the choice of a fold part of the pleasure of wearing it.

The green double-woven silk stole held open to show its translucence and fringe

A Front View in a Quiet Room

Wear the stole long over a plain blouse when you want the pattern to remain in view. The narrow fall at the front gives this generous silk piece a relaxed outline, with color doing the work of a larger accessory.

A model holding the two hanging sides of the green Edo Sarasa silk stole in a quiet Japanese room.

Color in Garden Light

The green setting in this image brings out the stole's botanical colors and sheer edges. Enjoy that lightness in a softly lit indoor room, as directed by its care guidance, with a loose wrap that leaves the pattern visible.

A model wearing the green Edo Sarasa silk stole high around her neck in soft garden light.

OBJECT PASSPORT / CARE & USE

Care & Handling

Care guide: washing, ironing, and outdoor use are not permitted for this silk stole

Do not wash, iron, or use this 100% silk stole outdoors.

OBJECT PASSPORT

Product details

Dimensions
2000× H640 mm
Material
100% silk
Product weight
25 g
Origin
Japan
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 portrait at the entrance of Tomita Dyeing & Crafts 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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