Fig. 1. Masaru Matsui (right) and the author.(Kikuchi Naoko, 10 July 2026) Late May, I visited the atelier of the hikibaku 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 hikibaku textiles and even moved to Kyoto to learn the technique.
Hikibaku in Japanese means 'woven foil'. It is also known as hikihaku (haku is written baku in Kanji spelling). 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 hikibaku is based on sheets of paper that are covered with (coloured) lacquer and (metallic) foils or slivers (Fig. 2), decorated with patterns, then cut into very thin 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 patterns that were cut up in strips re-emerge on one side of the cloth.
Fig. 2. Gold foil for hikibaku.A standard sheet of washi used for hikibaku is 45 cm wide and 60 cm long. A hikibaku designer draws the pattern on the washi using the urushi lacquer, which works as both an adhesive and a paint. He adds the foils of gold, silver or platinum, or slivers of mother-of-pearl or pieces of lapis lazuli. 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 lacquer, for instance, iron powder is added.
The use of urushi for hikibaku, however, s becoming less popular, but Matsui still loves urushi because of its durability, glossy coat and colour, However, its handling is difficult as it changes colour with temperature, humidity and time, and also causes a rash on the skin when wet.
Fig. 3. Hikibaku obi created by Masaru Matsui.After the decorative pattern is drawn onto the prepared washi sheets, the lines of the pattern are marked to facilitate the weaving process. The sheets are cut into strips of ca. 0.3 mm. A precise and perfect cut is crucial, otherwise the pattern is broken. A highly skilled craftsman will cut the strips with a slitter, sandwiching them between layers of papers to keep them flat and stable.
To create an obi with hikibaku 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 hikibaku sheets are required. The hikibaku 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): https://www.youtube.com/watch?v=lzOFQ-Xf4wg.
Attached are photoghraphs of two hikibaku obi which I found at the flea market of the Kitano-Tenmangu, Kyoto, after learning how to distinguish hikibaku 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 foil strips on both sides. During the Muromachi period (in the late 16th century), textiles 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 hikibaku company of his uncle in 1983. Observing hikibaku craftsmen working for their clients, he learned how to make hikibaku. As the demand was high, Matsui started to make hikibaku himself and officially became a traditional hikibaku craftsman. With his skill and artistic talent, he took commissions from prestigious weaving companies such as Kawashima Selkon. Even the then Empress Michiko purchased his hikibaku obi, which was worn 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 hikibaku craftsman, Matsui suggested that Riku should pursue his own path. 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 (Fig. 6) and Kusuka Fabric since started to use hikibaku for interior decoration, such as for high-end chair 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 hikibaku for a broader range of interior decoration, the cutting of hikibaku 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 hikibaku 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 hikibaku 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 hikibaku, 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
