一点一点、手作業で染め上げる
大量生産品が主流の現代で、すべて手作業で丁寧に染め上げる。 だからこそすべて異なる表情が生まれます。
Each piece is carefully hand-dyed, one by one.
In a world where mass production is the norm, each piece is meticulously hand-dyed with care. This is why every piece carries a uniquely expressive character.
一点一点、手作業で染め上げる
大量生産品が主流の現代で、すべて手作業で丁寧に染め上げる。 だからこそすべて異なる表情が生まれます。
Each piece is carefully hand-dyed, one by one.
In a world where mass production is the norm, each piece is meticulously hand-dyed with care. This is why every piece carries a uniquely expressive character.
何度も染め重ねることで現れる深い色合い
藍染は一度染めるだけでは濃い色合いは出ません。何度も染め重ねることで徐々に濃くなっていきます。SLOW FABRIC では、一日三回〜六回染め、濃い色では合計30回以上染め重ねることもあります。また染めた布には色止め剤は使っていません。何日もかけて染めて、何日もかけて水洗いを行うことで、色落ちの少ない藍染を提供しています。
A deep shade that emerges through layered dyeing.
Indigo dyeing does not produce deep colors with just one dip. The shade gradually deepens through multiple layers of dyeing. At SLOW FABRIC, fabrics are dyed three to six times per day, and for deeper shades, they may be dyed over 30 times in total. Additionally, we do not use color fixatives. Instead, we take several days to dye and several more days to thoroughly wash the fabric, ensuring that our indigo-dyed textiles have minimal color fading.
何度も染め重ねることで現れる深い色合い
藍染は一度染めるだけでは濃い色合いは出ません。何度も染め重ねることで徐々に濃くなっていきます。SLOW FABRIC では、一日三回〜六回染め、濃い色では合計30回以上染め重ねることもあります。また染めた布には色止め剤は使っていません。何日もかけて染めて、何日もかけて水洗いを行うことで、色落ちの少ない藍染を提供しています。
A deep shade that emerges through layered dyeing.
Indigo dyeing does not produce deep colors with just one dip. The shade gradually deepens through multiple layers of dyeing. At SLOW FABRIC, fabrics are dyed three to six times per day, and for deeper shades, they may be dyed over 30 times in total. Additionally, we do not use color fixatives. Instead, we take several days to dye and several more days to thoroughly wash the fabric, ensuring that our indigo-dyed textiles have minimal color fading.
先人から伝わる様々な技法を再現
染色品の柄の付け方には様々な技法があります。
・糸で布を縫い締める”絞り染め”
・型紙の上に糊を置き防染する"型染め"
・木の板で布を挟み防染する"板締め"
・溶かした蝋を用いる"ろうけつ染め”
など。
SLOW FABRIC では、これらの先人の残した知恵を用いて作品制作をしています。
Reproducing various techniques passed down from predecessors.
There are various techniques for creating patterns on dyed textiles,
including:
Shibori dyeing – where fabric is stitched and tightened with thread before dyeing
Katazome – where a stencil is used to apply resist paste to block the dye
Itajime (Board Clamping) – where fabric is sandwiched between wooden boards to resist dye
Rōketsu dyeing (Batik) – where melted wax is applied to create patterns before dyeing
At SLOW FABRIC, we incorporate the wisdom and techniques passed down by our predecessors to create our works.
先人から伝わる様々な技法を再現
染色品の柄の付け方には様々な技法があります。
・糸で布を縫い締める”絞り染め”
・型紙の上に糊を置き防染する"型染め"
・木の板で布を挟み防染する"板締め"
・溶かした蝋を用いる"ろうけつ染め”
など。
SLOW FABRIC では、これらの先人の残した知恵を用いて作品制作をしています。
Reproducing various techniques passed down from predecessors.
There are various techniques for creating patterns on dyed textiles,
including:
Shibori dyeing – where fabric is stitched and tightened with thread before dyeing
Katazome – where a stencil is used to apply resist paste to block the dye
Itajime (Board Clamping) – where fabric is sandwiched between wooden boards to resist dye
Rōketsu dyeing (Batik) – where melted wax is applied to create patterns before dyeing
At SLOW FABRIC, we incorporate the wisdom and techniques passed down by our predecessors to create our works.
江戸時代の技法"天然灰汁醗酵建て"
藍染の液を作ることを”藍建て”といいます。様々な藍建ての技法がありますが、SLOW FABRIC では、藍染が一番栄えていた江戸時代を中心に行われていた”天然灰汁醗酵建て”という技法で液を作っています。
Edo-period technique: "Tennen-Aku-hakkoudate"
The process of creating indigo dye liquid is called "Ai-date". There are various methods of Ai-date, but at SLOW FABRIC, we use the "ennen-Aku-hakkoudate", a technique that was widely practiced during the Edo period, when indigo dyeing was at its peak.
江戸時代の技法"天然灰汁醗酵建て"
藍染の液を作ることを”藍建て”といいます。様々な藍建ての技法がありますが、SLOW FABRIC では、藍染が一番栄えていた江戸時代を中心に行われていた”天然灰汁醗酵建て”という技法で液を作っています。
Edo-period technique: "Tennen-Aku-hakkoudate"
The process of creating indigo dye liquid is called "Ai-date". There are various methods of Ai-date, but at SLOW FABRIC, we use the "tennen-Aku-hakkoudate", a technique that was widely practiced during the Edo period(1600s), when indigo dyeing was at its peak.
責任を持ったモノづくり. 人体にも. 環境にも.
天然灰汁発酵建ての藍染は、化学薬品を一切使わず自然界の天然成分のみを用いた藍染です。
・植物の藍から作った染料 "蒅(すくも)"
・広葉樹の木灰からとった "灰汁(あく)"
・貝を焼いた灰 "貝灰"
・小麦の外皮 "ふすま"
これらが材料です。
人体にも環境にも無害なので、色素を抜き出し染まらなくなった染液は肥料として畑に返します。
その畑でまた藍を育て、染料を作り、染め、また畑に返す。この循環が天然灰汁発酵建ての魅力です。
Responsible Craftsmanship. For the body. For the environment.
"tennen-Aku-hakkoudate" Indigo Dyeing is a traditional method that uses only natural ingredients from the environment, without any chemical additives.
The materials used are:
"Sukumo" – Indigo dye made from fermented indigo leaves
"Lye (Aku)" – Extracted from hardwood ash
"Kai-bai" – Ash from burned shells
"Fusuma" – Wheat bran
Since this method is harmless to both humans and the environment, the used dye liquid, once it can no longer extract color, is returned to the soil as fertilizer.
In this cycle, indigo is grown, dye is made, fabrics are dyed, and the used dye liquid is returned to the fields, where new indigo plants are cultivated once again. This sustainable loop is what makes "tennen-Aku-hakkoudate" Indigo Dyeing so unique and valuable.
責任を持ったモノづくり. 人体にも. 環境にも.
天然灰汁発酵建ての藍染は、化学薬品を一切使わず自然界の天然成分のみを用いた藍染です。
・植物の藍から作った染料 "蒅(すくも)"
・広葉樹の木灰からとった "灰汁(あく)"
・貝を焼いた灰 "貝灰"
・小麦の外皮 "ふすま"
これらが材料です。
人体にも環境にも無害なので、色素を抜き出し染まらなくなった染液は肥料として畑に返します。
その畑でまた藍を育て、染料を作り、染め、また畑に返す。この循環が天然灰汁発酵建ての魅力です。
Responsible Craftsmanship. For the body. For the environment.
Natural Lye Fermentation Indigo Dyeing is a traditional method that uses only natural ingredients from the environment, without any chemical additives.
The materials used are:
"Sukumo" – Indigo dye made from fermented indigo leaves
"Lye (Aku)" – Extracted from hardwood ash
"Kai-bai" – Ash from burned shells
"Fusuma" – Wheat bran
Since this method is harmless to both humans and the environment, the used dye liquid, once it can no longer extract color, is returned to the soil as fertilizer.
In this cycle, indigo is grown, dye is made, fabrics are dyed, and the used dye liquid is returned to the fields, where new indigo plants are cultivated once again. This sustainable loop is what makes Natural Lye Fermentation Indigo Dyeing so unique and valuable.