Fig. 1. Masaru Matsui (right) and the author.(Kikuchi Naoko, 10 July 2026) Late May, 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 world 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). 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 and slivers (Fig. 2), applied in decorative patterns, then cut into extremely thin and narrow 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.
Fig. 2. Gold foil for hikibaku.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. To create a black lacquer, for instance, iron powder is added. The basic colour of urushi is honey-brown, but can be altered by adding pigments or other substances to achieve different colours. The use of urushi for hikihaku, however, is now becoming less popular, because its handling is difficult. It changes colour with temperature, humidity and time, and also may cause a rash on the skin when wet. But Matsui still loves urushi because of its durability, glossy coat and colour.
After covering the paper with the coloured lacquer, he adheres the foils and slivers of gold, silver, platinum, mother-of-pearl or lapis lazuli to complete the intended 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 strips with a slitter, sandwiching them between layers of papers to keep them flat and stable.
Fig. 3. Hikibaku obi created by Masaru Matsui.To create an obi with hikihaku decoration (Fig. 3), the strips are woven 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 the mirror that is placed on the back of the loom. The weaving itself used to be carried out by hand, with a ‘hera’ (shuttle), but nowadays a shuttle loom is often being used.
Fig. 4. Hikibaku obi with a hikibaku design of drum and flutes in bags.
During the weaving process, a selvedge is created. 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.
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).
Fig. 5. Fragment of an obi with hikibaku garden pattern.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. They included textiles that were decorated with 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 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.
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.
Fig. 6. Kawashima chair, with hikibaku decoration, by Masaru Matsui.Masaru Matsui
Masaru Matsui started working as a salesman for the hikihaku company of his uncle 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 hikihaku craftsman. With his skill and artistic talent, he took commissions from prestigious weaving companies such as Kawashima Selkon. Even the then Empress Michiko purchased one of his hikihaku obi, which she wore on her birthday and other important occasions.
However, the kimono industry gradually declined. When his ten-year old son Riku said that he wanted to become a hikihaku craftsman, Matsui suggested that Riku should pursue his own path. In later, Riku became a guitarist (Fig. 7). The number of craftsmen cutting the paper also declined sharply – only two are left, both over 70 years old.
However, the textile companies of Kawashima Selcon and Kusuka Fabric have since started to use hikihaku for interior decoration, such as for high-end chair (Fig. 6) and the luxurious car upholstery. Please read more about the high-end 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. 7. The guitar of Riku, the son of Masaru Matsui, decorated with hikibaku.In spite of a growing market, 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 for Saga – Nishiki, whereby hikibaku is used for warp threads over 4 m long. The machine has many wafer-thin circle blades to cut the warps, and hikihaku is rolled up on the other side. By setting it 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 and mini art panels. Applying hikihaku to wood works well, because urushi is the sap of lacquer trees. He loves the fact that his designs continue old traditions. He feels fortunate that he can keep working, if not only for obi. As the last craftsman to use urushi for hikihaku, he hopes this technique is 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 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
