Kimono of figured gauze. “Unasaka (border between human and sea god’s worlds)”

In the weaving of monsha (delicate figured-gauze fabric), TSUCHIYA uses a pedal-operated loom to which four heddles and one furue, a device used in the production of gauze, are attached. In monsha, two warps are twisted to structure the gauze fabric, and then while changing to the warp color of plain weaving, cube, stone pavement, or other patterns are woven into the fabric. In addition to monsha, his production is varied including raw silk fabrics or pongee. Raw silk is the exact opposite to refined silk and makes a classical silk textile similar to gauze; in the “Utsusemi” chapter of the Tale of Genji, the author describes a “raw-silk unlined kimono.” He aims to create fabrics with a good crisp feel and thus uses unrefined raw silk yarn. Kasuri (splashed patterns) used in combination with monsha are created by playing with the natural differences found in the dyed patterns. His works are made of yarn colored with natural plant dyes that create distinctive bright and lustrous colors or soft patterns blended with gradual gradations in a noshime* style created by warp ikat. They are somewhat different from the images and patterns seen in the Shosoin Treasure House or on the attire of court nobles. Works demonstrating the beauty of raw silk with its dragonfly wing-like translucent quality are inspiring and point to the future production of monsha with a vital contemporary feeling. *A ceremonial robe worn by a samurai