Community-based ethical fashion “Ay” reweaves the charm of Meisen kimono

Kimono is one of the sectors of Japanese manufacturing that has developed with the environment and people. There are various types of kimono, for example, “Meisen,” which is generally called “plain-woven silk fabric.” Meisen spread throughout Japan as women’s daily and fashionable clothes from the Taisho (1912 – 1926) to the Showa era (1926 – 1989).

“Isesaki Meisen” in Gunma Prefecture, which is said to have begun sericulture in the Nara period, was loved by women all over Japan from the Meiji to the Showa era. The charm of Isesaki Meisen is the unique pattern and good color based on “Heiyou kasuri (a weaving method of putting a pattern on the vertical and weft threads in advance).” However, the Meisen industry, which was once active, has now fallen away due to the shrinking kimono culture and a shortage of successors.

This time, we interviewed Aya Murakami, a generation Z representative of the apparel brand “Ay.” Murakami looks for new ethical fashion within cultures such as Meisen and strives to incorporate traditional techniques nurtured in the region.

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Starting the brand in the Democratic Republic of Congo

Murakami started her brand “Ay” after visiting the Democratic Republic of Congo (DRC) in Africa.

“I traveled to the DRC as part of the university lecture, operating and implementing cultural exchange events and speech contests. However, I regretted that I was only involved in one-off events and not in the whole process. Also, I felt a sense of incongruity with myself, thinking, “Am I satisfied just by the fact that I have been there?” This experience made me want to operate a more sustainable business.

In addition, when Murakami tried to make clothes as souvenirs for herself, young Congolese were actively talking about collaborating with her and their businesses. While listening to their stories, she learned that they had no opportunity to work even after graduating from university. Murakami was inspired by these young people who are actively trying to generate employment to address this issue.

At the same time, Murakami also felt that she wanted to create something herself in the field of fashion. After that, in May 2019, Murakami launched the brand “Ay,” focusing on the production of clothes using locally rooted African fabrics.

“While actually launching the brand, I felt the difficulty of communicating with Congolese people and the difference in perception, and realized the challenges in business collaboration. Through building a brand while living together, I also learned about the bold sensibility and openness of the Congolese people.”

Returning to the origin of “Meisen”

Murakami was scheduled to visit the DRC again in March 2020. However, she was unable to travel due to the effects of COVID-19. The situation made her worried, thinking she may need to shut down her brand. When she turned her attention to Japan in a situation where she could not travel abroad, one of Murakami’s local cultures, “Meisen,” came to her mind. Then, she decided to focus on Meisen and relaunch Ay.

“I first encountered Meisen when I was in junior high school. At that time, I attended a lecture on Isesaki Meisen for the first time, learned the culture and techniques of Meisen, and experienced a kimono-wearing workshop. I was shocked to find that bright and attractive Meisen were made in my hometown. After that, when I traveled to the United States and the DRC to study abroad, I brought Isesaki Meisen kimono and created opportunities for others to try them on. Through such experiences, I feel that I have returned to my Meisen roots.

Struggles of traditional Meisen culture

As Murakami returned to Gunma and interacted with people engaged in succession activities, including former Meisen craftsmen, she heard that the production of Meisen kimono was declining.

When she was a junior high school student, she learned that the Meisen industry itself was in a difficult situation from a lecture, but when she went back to the site, she fully realized the difficulty of continuing business.

“Although I feel the current situation of the Meisen industry is tough, I want to revive the production area and contribute to the development of the industry. That’s why I focus on local garment factories and try to work with those who understand my vision. In order to build a stronger cooperative system, I realized that it is important to actually set up a local base, share thoughts and ideas with the factory and get involved in the local community.

“The barrier is that the Meisen industry itself is small. There is a persistent perception that the price commensurate with hard labor and delicate work won’t be paid. In addition, the Meisen industry has one craftsman for each of the 14 processes. Therefore, there is also a structural issue that if one sector is missing, it cannot be manufactured. I think it is necessary to look at the whole in cooperation with each other, instead of such a divided labor system.”

Ay to reweave the charm of Meisen

Murakami also believes that it is important to develop the industry by combining technology with Meisen.

“While upcycling Meisen kimono at Ay, I realized that it would be difficult to make clothes that match the limited fabric width of kimono. If we develop the textile itself, we will be able to design more freely. Also, I would like to be involved in the Meisen industry from the fiber development stage, such as making Meisen mixed with polyester to match modern lifestyles since the pure silk used for Meisen can only be washed by hand. As for the design, I would like to incorporate the elements of Meisen well and make a new effort to blend Meisen into the modern world.”

Through these Ay initiatives, Murakami has felt customers’ support for the vision and actions of Ay, which incorporates the local community and sustains cultural heritage. For example, fans of African cloth products, which were developed at the beginning of the brand’s establishment, continue to purchase Meisen products. On February 10, 2021, she started crowdfunding and accepting orders for products that are easy to wear in daily life, such as dresses and accessories using Isesaki Meisen.

Editor’s Note

Among the various ethical approaches, I am personally paying attention to efforts that focus on the culture that is rooted in the region. The reason the word “ethical” has drawn attention came from the frequent lack of transparency between producers and consumers. An ethical concept requires clear and close communication. What is important for such transparent communication is to focus on both the region where we live and the production area.

While interviewing Murakami, I strongly felt the vertical connection that is inherited over generations. In the field of ethical fashion, new technologies tend to attract attention. However, when we turn our attention to manufacturing that is rooted in the region, we realize that efforts that are good for all working people and the natural environment have been continually handed down since long ago.

Overseas travel has been restricted due to the influence of COVID-19. It may be a good time to take another look at our own region with a new perspective. Examining the local culture, rediscovering its charm and incorporating it into the present age are some of the ethical efforts we can support in the post-corona era.

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