The work of Izumi Nagai from Nogizaka46. Interview and video

Izumi Nagai, who works as a dyeing and weaving artist under the name of Nogoromo, will be holding an exhibition at the shore in early spring next year.

Nagai cultivates Japanese cotton, which he hand-spins and hand-weaves into bolts of fabric.

We hope you will be able to experience this rare handicraft and the beauty of the rolls of fabric.

(Please also read the articles about the raw material, Japanese cotton, and the production process .)

Interview

──After graduating from the Department of Craft Dyeing and Weaving at Otsuka Textile Design College, you studied under Shimada of Kobo Yumihama. What made you decide to go to this studio?

At vocational school, I used to buy thread and make things, but I wanted to know where the thread came from and I was interested in the connection between fabric and the culture rooted in the land. I was searching for information on these things and eventually met a teacher, who I asked to let me study here.

What did you learn during your training?

I learned everything from the ground up, starting with cotton cultivation, Yumihama Kasuri, the techniques, and the mindset required for production.

── You work as a dyeing and weaving artist, creating bolts of fabric, and your process begins with growing the cotton that is the raw material. I imagine there are very few dyeing and weaving artists who grow cotton, and it must require a lot of time and effort. Why do you start with cultivation?

As with anything, I feel that selecting raw materials is important. Japanese cotton is rarely available for sale, and growing it in the fields is an important part of my work, allowing me to always keep an eye on what is right in front of me.

--You grow Hakushu cotton and brown cotton, don't you? From your perspective, what are the characteristics and advantages of these varieties?

First of all, Hakushu cotton is grown in Hakushu, so it has its own characteristics. I hesitate to call what I'm growing now Hakushu cotton, and instead call the cotton I'm currently making "Japanese cotton." On top of that, Hakushu cotton itself is characterized by its thick, elastic fibers. Also, when I first saw it at Kobo Yumihama, it was so shiny I thought it was silk. It's beautiful cotton.

--Mr. Nagai, you have been cultivating Hakushu cotton in Nagano for around 10 years. Cultivating cotton is difficult in itself, but doing it in the relatively cold climate of Nagano must have presented even more challenges. (Note: Cotton is said to be suited to hot, rainy tropical and subtropical regions.)

My current home was introduced to me by chance when I was looking for a house to cultivate rice fields. The place where I live now is about 800 meters above sea level, and honestly, the land is not suitable for growing cotton.

It's been about 12 years since I came to Nagano, but it's only been in the last few years that the cotton has grown well and we've been able to harvest it. Until then, the cotton harvest was just enough to keep the seeds going, and there were many years when we didn't even get to harvest. Because of this situation, I had always thought that I might not be able to live in Nagano, and even considered moving there. So the harvests of the past few years seem like a dream.

-- What is the schedule for growing Japanese cotton?

The seeds are sown around Golden Week, and here in Shinshu, harvesting begins around mid-September and continues until December.

--Is there any sorting at the cotton stage or depending on the harvest yield?

Since we are dealing with nature, there is no guarantee that the quality will be stable. Even white cotton can turn brown in some places, so we separate this after harvesting and use it separately.

── I heard that Japan's self-sufficiency rate for Japanese cotton is 0%. Looking at Nagai's work, I understand the quality of Japanese cotton, but what is the reaction of customers to Japanese cotton bolts? I imagine that some people are encountering Japanese cotton bolts for the first time through Nagai's work.

I think there are still many people who are unaware of the existence of Japanese cotton, just like me. Also, even though it is generally called Japanese cotton, there are many different varieties that have been grown in different regions.
When we show and explain the cotton we grow, some people become interested, and we are happy that we have been able to provide them with an opportunity to learn about Japanese cotton.

── What is the most important point in the process of making bolts of fabric?

The key is that there is no one number one, so you have to be careful with every task.

── You say that spinning yarn is your lifeline as an artist, but what is your ideal yarn?

I try to spin yarn that suits the purpose. For example, if it's something to be worn around the neck like a shawl, then something soft and light would be good, but on the other hand, if it's a bolt of fabric then it needs to have a certain degree of strength.
Since it is something that requires manual effort, it is quite difficult to give it shape, but I always check the answer with my head and hands as I work.

-- How much thread is needed for one bolt of yarn?

One tan of thread weighs about 1 kilogram. It takes about a month to spin the thread, both warp and weft. I wish I could spin it faster.

──Just spinning the thread is hard work. But Nagai's thread is truly beautiful. I would love for many people to see it. What materials do you use for dyeing, and how do you procure them?

I collect dyes that I can get around me, and if I can't get my hands on them I buy them from a dye shop.

-- On average, how many times do you dye one roll of fabric?

The dyeing process is done once or twice a day, so it takes a lot of time. It depends on the color and design, but I would say I dye each color about five times.
For dark colors, the fabric may be dyed over ten times.

--When dyeing something a deep indigo blue like Nubatama, how many times do you dye it at most?

It depends on the condition of the indigo vat, so it's hard to say for sure, but even a newly made indigo vat is dyed about 20 times.

── There are many looms in your studio. Do you use them for different purposes, and do they each have their own unique features?

I currently mainly use looms in Yumihama, Sanin. I like the fact that Yumihama looms are not too rigid. It gives me freedom, and when I weave I feel like I am constantly in dialogue with the loom.

--How long does it take to weave one roll of fabric? Is there anything you pay particular attention to when weaving?

It usually takes two to three months.
The bolts of fabric are about 13m long, so they have to be consistent throughout, so while weaving I concentrate on the feel of my hands so that it doesn't change from moment to moment.
But the same can be said about thread making and other tasks.

--The heyday of woven kimonos was the Edo period, when I believe the work was divided among multiple people. Mr. Nagai, you started by cultivating the raw materials before spinning the thread, and I imagine it takes an enormous amount of time and effort to create a single bolt of fabric.
What motivates you?

In one word, it's because I love it.

--Do you think it would be good to have a division of labor in the future?

Yes, I always think it would be nice to have colleagues nearby who do similar work.

--How do you choose the color, pattern, and design of a single piece of fabric?

I choose based on the customer's preferences, or by imagining the person they are wearing, or even if I don't have a specific person in mind, I choose by imagining how they will look wearing it.

--Are there any fabric designs or techniques you would like to work on in the future?

There are so many (laughs), but among them, I always want to try Kasuri.

─ Finally, for those who have become interested in Nagai's Japanese cotton kimono fabrics after reading this article, we would appreciate it if you could tell us anything that would be useful for living with a Japanese cotton kimono, such as the good points of cotton kimonos, what you like about Japanese cotton kimonos, and advice on the best season to wear them in and how to care for them on a daily basis.

Cotton can be washed at home, so you can wear it with ease.
When washing, press the garment with a neutral detergent and gently spin-dry it.
It can be worn throughout the seasons of spring, autumn and winter.
Japanese cotton contains a lot of air, so it is warm, and you will feel its warmth especially in winter.

Cotton is a fiber that is familiar to us, but most of the cotton we come into contact with today is imported. The name "Japanese cotton" has become more well-known recently, but I don't think many people know much about it.

On a personal note, I will never forget the excitement I felt the first time I put on a kimono made from hand-spun Japanese cotton. That was the moment I decided to continue making kimonos using hand-spun Japanese cotton.

The impression I felt from that experience remains strong, and I want as many people as possible to experience and know about it, so I continue to weave using Japanese cotton and hand-spun yarn.
If you're interested, I'd be happy if you could not only touch it with your hands, but also put it on and feel it with your whole body.

(⇡The cat is interested in the author's camera bag.)

(⇡The tear in the shoji screen of the workshop/residence has been beautifully repaired.)

Video

We have made a video of some of Nagai's dyeing and weaving work.

Addendum:

Cotton kimonos are classified as casual, so in terms of modern kimono classification and ranking, they are hardly suitable for tea ceremonies.

However, I believe that the quality and elegance of cotton kimonos, which are a combination of Japanese cotton, hand-spun, and hand-woven, give them the dignity befitting a formal tea ceremony.Of course, a tea ceremony is not something you do alone, and there are modern "common sense" standards to consider.

However, I think Nagai's hand-spun and hand-woven Japanese cotton kimonos look very cool for tea ceremonies, especially for men, where tsumugi is also acceptable. (I'll write a report on my experience wearing them someday!)

…

For me, when I create a tea ceremony (including the utensils) that is suitable for Nagai's kimono, I can say that I am approaching my ideal tea ceremony. The kimono can also serve as a guideline for that.

©2025 Offshore