Apparel brand REINA IBUKA with the charms of silk from Chichibu

Have you ever felt silk material? There is a tendency to stay away from silk because of its expensive image. However, silk history is closely related to the Japanese, dating back to more than 2000 years ago when sericulture (the rearing of silkworms to produce silk) and weaving techniques were introduced to Japan during the Yayoi period. Japan then became famous as one of the world’s leading producers of raw silk in the Meiji Era.

However, Japanese silk is facing peril in recent years. According to the Ministry of Agriculture, Forestry and Fisheries, the aging of sericulture farmers and the lack of successors are affecting the industry. The number of sericulture farmers and the amount of cocoon production in 2018 have decreased to about 30% from 2008. At the same time, the production volume of raw silk has reduced significantly, and the share of domestically produced raw silk is currently estimated at 0.2%.

As such, the silk industry is rapidly declining. But there is a region exploring its sustainability through a consistent approach to manufacturing, from materials to textiles and manufactured fashion items. That is Chichibu in Saitama Prefecture, which has more than 1,000 years of history in sericulture and silk weaving.

We interviewed Reina Ibuka, designer of sustainable brand REINA IBUKA, about her activities as a designer so far and her spirit of craftsmanship using materials from Chichibu.

From Chichibu to Paris, the world’s home of fashion

Ibuka has always been interested in fashion growing up in Chichibu. After majoring in design at Bunka Fashion College, she gained experience as a designer for four years at a lingerie brand in Tokyo. She was influenced by the owner of the brand, who launched a lingerie brand at the age of 25. Ibuka longed to visit Paris, the home of fashion, at the same age.

Ibuka: “I had a strong sense of adventure at that time, wanting to live abroad and work for a brand as a trainee while I’m still young.”

After moving to France, Ibuka worked as an attendant and interpreter for those in the fashion industry. Through such work connections, she started trading her fashion items and launched her original brand, “maria-reina paris” in 2000.

Ibuka: “There were ample materials in Paris that you can’t find in Japan, such as antique materials in flea markets, so I was able to make my own lingerie by hand. I had a lot of inspiration. I was mainly making lingerie, but I became interested in real lace and felt a strong desire to make clothes and wear them.”

Realizing Chichibu’s charm in craftsmanship after returning home

After working as a designer in Paris for 17 years, Ibuka returned to her hometown, Chichibu.

Ibuka: “I started thinking about having children in my late 30s, but I suffered from infertility, meaning that even if I got pregnant, the baby could not grow, and I had repeated miscarriages in Paris. At the same time, my husband was planning to take over his family business. I hoped to receive treatment in Japan too, so I made a big decision to return to Japan with the dream of raising my children in Chichibu. However, I continued to have miscarriages and eventually gave up on having children.

“Until then, I had made my own decisions and walked forward by myself, so it was the first time things didn’t turn out the way I wanted even when I tried. However, when I started to touch the soil in the field, little by little, I gained energy and was able to regain my true self. Thanks to nature, I was able to connect with people and gradually remember the feeling of being happy when I touch something beautiful.”

It was under such circumstances when Ibuka encountered silk fabrics called “Chichibu Meisen” and “Chichibu Futori.”

Chichibu Meisen is a silk fabric designated as a Traditional Crafts of Japan in 2013. Stencil-dyeing the threads, a technique called “Hogushi-nasen” in which the front and back are dyed in the same way, characterizes a fabric with no front and back. Also, some have a shining effect, like a jewel beetle, where the color appears different depending on the angle. It was popular nationwide from the Taisho to the early Showa era for over 100 years among women as a casual and fashionable outfit.

Chichibu is originally surrounded by mountains and was not suitable for rice cultivation, so the sericulture industry thrived. For example, non-standard cocoons were used to produce farm clothing (Noragi) called Futori. That is the “Chichibu Futori” that Ibuka uses for her creation.

This weaving technique was once discontinued due to a lack of successors, but was revived and inherited several years ago. Chichibu Futori’s brand “Magnetic Pole,” which is currently used at “REINA IBUKA,” weaves silk textiles from 100% Chichibu cocoons. A non-twisted thread, the characteristics of Chichibu Futori, creates the charm of the material’s original texture, water absorption, and strength as a fabric.

Ibuka: “Contact with nature gave me energy, and I began to see what I wanted to do in the future. At first, I thought I could do something through the fashion I have experienced so far. However, when I was struggling with the meaning of my new activities against the overflowing apparel brands in Japan, I realized that Chichibu has traditional textiles. I visited the weavers excitedly and thought, ‘This gives meaning to why I’m creating a fashion brand!'”

“At first, not only did I think such weaving technology was just beautiful and wonderful, but I was also impressed by the fact that it has been consistently made from cocoons produced near the weavers. I sometimes catch myself questioning, ‘Creating fashion in Chichibu?’ But I believed in Chichibu’s attractive materials, and began thinking, ‘I want to take on the challenge of creation’ and ‘I want to spread the wonderful culture of Chichibu to the world.'”

Thinking about connections through fashion

Ibuka started her personal brand using Chichibu Meisen and Chichibu Futori in 2019, and announced a new collection through crowdfunding this summer. Through this collection, she was surprised how many were interested not only in the design of the clothes, but also in the silk material and the sericulture in Chichibu.

Ibuka: “At exhibitions so far, many have praised Chichibu Futori’s manufacturing process, which is a specialty of the region. I wanted to share our efforts with others in various regions, so I launched through crowdfunding this time. Crowdfunding also allowed those living in Chichibu who didn’t know about Chichibu’s silk to discover the silk culture, and they became interested in it. I want to connect messages from these individuals with future phases.”

In the future, Ibuka says that she wants to collaborate not only with fashion brands but also with artistic fields such as video works and dance.

Ibuka: “Through my experiences in Paris, I learned a lot about human richness and morality. I got the impression that in Paris, everyone has their own philosophy and doesn’t care what others think of them. I have learned to understand and value myself. I want to forge the same sense of openness in Chichibu that I felt in Paris, and create things that I like but are not available here yet.

“I like nature, gardening, and fashion, and they are all connected. I want to feel the connection between people and cherish the feeling of being connected to nature through fashion.”

Editor’s Note

The author has visited textile production areas all over Japan, but it is extremely rare that everything from materials to textiles and design is all done in the same region. In general, the entire process, such as materials and manufacturing, is subdivided in the apparel industry. Therefore the division of labor system makes it difficult to grasp the complete picture of the production background.

On the other hand, Chichibu’s initiatives display transparency of the production background from the beginning to the end of manufacturing. Chichibu’s efforts will foster a perspective that captures the entire flow of production, and should provide an excellent hint for sustainable manufacturing in the future.

Originally published on IDEAS FOR GOOD.
Translated by Mari Kozawa.