Fig. 1. Masaru Matsui (right) and the author.(Kikuchi Naoko, 10 July 2026) In late May of this year, I visited the atelier of the hikihaku craftsman, Masaru Matsui, who lives and works in Kyoto (Fig. 1). I wanted to know why my friend Natasha, with a broad knowledge of textiles, was so much fascinated by the so-called hikihaku textiles and even moved to Kyoto to learn the technique.
Hikihaku in Japanese means 'woven foil'. Also known as hikibaku, it is an ancient, intricate technique, carried out by a ‘hakuya’ (a hikihaku-design craftsman), a ‘kiriya’ (cutting craftsman) and a ‘hataya’ (weaver).
Fig. 2. Gold foil for hikihaku.Masaru Matsui from Kyoto is a hakuya. The technique of hikihaku is based on the use of sheets of paper that are covered with (coloured) lacquer and (metallic) foils (Fig. 2), applied in decorative patterns against the colour of the lacquer, then cut into extremely thin and narrow thread-like strips that are subsequently woven into the warp structure of a piece of cloth. The strips are added to the cloth in such a way that the decorative patterns that were cut up in strips re-emerge on one side of the woven cloth.
The lacquer
A standard sheet of washi used for hikihaku is 45 cm wide and 60 cm long. A hikihaku designer covers the paper with urushi lacquer or another substance, which works as both an adhesive and a paint. The basic colour of urushi is honey-brown, but can be altered by adding pigments or other substances to achieve different colours. To create a black colour, for instance, iron powder is added to the lacquer.
Fig. 3. Hikihaku obi created by Masaru Matsui.The use of urushi for hikihaku, however, is now losing its popularity, because it is difficult to handle. It changes colour, not only by adding pigments, but also with temperature, humidity and time. It may also cause a rash on the skin when wet. But Matsui still loves urushi because of its durability, glossy coat and colour.
Creating and cutting the pattern
After covering the paper with the coloured lacquer, the craftsman adheres foils and slivers of gold, silver, platinum, mother-of-pearl or lapis lazuli to complete the decorative pattern. He then marks the paper on the back and cuts it into thin strips of c. 0.3 mm. A precise and perfect cut is crucial, otherwise the decorative pattern cannot be correctly woven into the cloth. A highly skilled craftsman will cut the sheets into strips, nowadays with a slitter or guillotine cutter, sandwiching the sheets between layers of paper to keep them flat and stable.
Fig. 4. Obi with a hikihaku design of drum and flutes in bags.To create an obi with hikihaku decoration (Fig. 3), the strips are woven as a weft thread, namely over and under the warp threads of the cloth. During the weaving, the marks of the pattern on the back of the strips are constantly checked with a mirror on the back of the loom. The weaving itself used to be carried out by hand, with a ‘hera’ (shuttle), but nowadays a powered loom is often used.
The finished obi is 30-32 cm wide and 4.3-4.5 m long. For one obi, five to six hikihaku sheets are required. The hikihaku covers the full length of the obi, but not the full width. The finished textile has a smooth surface and subtle shine. No hikibaku obi is identical. The colours and shine of the garment, if urushi is used, become more intense over time.
Fig. 5. Fragment of an obi with hikihaku garden pattern.To see how the foil pattern is created, cut, woven, selvedged, and sewn, please watch this film, produced by Okamoto Orimono.
Attached are photoghraphs of two hikihaku obi which I found at the flea market of the Kitano-Tenmangu, Kyoto, after learning how to distinguish hikihaku obi (Figs. 4-5).
History
Foil weaving was introduced in Japan from China. In the late Heian period (10th – 12th century), Chinese priests introduced brocade robes and other precious textiles to Japan. They included textiles that were decorated using foil strips. During the Muromachi period (in the late 16th century), textiles that were delicately decorated with foil paper were woven in Nishijin (a Kyoto district). Local craftsmen had learnt the technique from Ming craftsmen in China who had migrated to Sakai in Japan. These textiles were used for the decoration of temples, for the robes of monks and for Noh costumes, but eventually also for luxurious obi.
Fig. 6. The guitar of Riku, the son of Masaru Matsui, decorated with hikihaku.In the late 19th century, chemical lacquer and the mechanical slitter were introduced. Until then washi was folded and cut with a knife. In the post-war period (1950s – 1970s), the kimono industry flourished, and the slitter or guillotine cutter was much improved for mass production. In the 1980 -1990’s, a large variety of metallic foils were used to cater to people’s taste.
Masaru Matsui
Masaru Matsui started working as a salesman for his uncle's hikihaku company in 1983. Observing hikihaku craftsmen working for their clients, he learned how to make hikihaku. As the demand was high, Matsui started to make hikihaku himself and officially became a traditional hakuya and hikihaku craftsman. With his skill and artistic talent, he accepted commissions from prestigious weaving companies, such as Kawashima Selkon Textiles. Even the then Empress Michiko purchased one of his hikihaku obi, which she wore on her birthday and other important occasions.
Fig. 7. Kawashima chair, with hikihaku decoration, by Masaru Matsui.However, the kimono industry gradually declined, and so did that of hikihaku. Especially the number of craftsmen cutting the paper went down. Right now, only two are left, and both of them are over 70 years old.
When some years ago Masaru Matsui's ten-year old son Riku told his father that he wanted to become a hikihaku craftsman, Matsui suggested that Riku should pursue his own, different path. In later life, Riku became a guitarist (Fig. 6).
In recent years there has been a revival. The textile companies of Kawashima Selcon and Kusuka Fabric have since started to use hikihaku for interior decoration, such as for a high-end chair (Fig. 7) and luxurious car upholstery. Please read more about the chair of Kawashima Selcon and the BMW interior decoration from the links below;
- https://www.kawashimaselkon.co.jp/event/kokoromi2020/designer-mihara-yasuhiro/
- https://www.bmw.co.jp/ja/magazine/x7-nishiki-lounge.html
Fig. 8. Billiard cues decorated with hikihaku.With a growing market and the use of hikihaku for a broader range of interior decoration, the cutting of hikibaku strips remains a problem. The maximum width of the guillotine blade is 120 cm, while many interior textiles require a width of 150 cm. Matsui now considers using the cutting machine traditionally applied to produce the so-called Saga – Nishiki brocades, whereby strips of metal coated paper are used for warp threads over 4 metres long.
The machine has many wafer-thin circle blades to cut the threads from the paper. By setting the machine and paper horizontally, the width problem can be solved. The problem is the introduction cost, finding cutting craftsmen, and the difficulties in weaving.
In the meantime, Matsui started to use his design skills for other items; smartphone cases, instrument decoration, billiard cues (Fig. 8) and small art-panels. He feels fortunate that he can keep working, if not only for obi. As perhaps the last craftsman to use urushi for hikihaku, he hopes this technique is being well-recorded for the future. Although still taking commissions for the finest obi, he also wants to decorate large objects such as interior panels and plaster walls. There is no limit for the application of gold leaf, says Matsui.
References:
- Kirihata, K. and Matsuo, H. (1986), IWANAMI GRAPHICS 34 Nishijin - ori, Traditional technique, [IWANAMI GRAPHICS Denshō no waza], Iwanami Shoten, Publishers
- Ogasawara, S. (1998), The basic knowledge of viewing dye and weaving [Some to ori no kanshō kiso chisiki], Shibundo
