Title: What is Ushikubi Tsumugi (Pongee)? Unraveling the History, Techniques, and Beauty of the Strong Silk Known as “Kuginuke”
Ushikubi Tsumugi (Pongee) is a traditional silk textile that represents Japan, woven continuously in the Shirakawa district of Hakusan City, Ishikawa Prefecture. Its strength is also called “kuginuke” (nail-pulling), possessing such durability that it won’t tear even when caught on a nail, while maintaining supple luster and a warm texture that captivates people.
This article provides a detailed exploration of the history and background of Ushikubi Tsumugi, its unique weaving techniques, and its aesthetic qualities. Discover the world of Ushikubi Tsumugi that continues to be loved even after many years, and experience its value and depth as a craft.
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What is Ushikubi Tsumugi? The Strong Silk Textile Known as “Kuginuke”
Ushikubi Tsumugi (Pongee) is a premium silk textile representing Japan, known for its durability that earned it the nickname “kuginuke,” its distinctive textured feel, and deep luster. Boasting over 800 years of history in the mountainous Shirakawa district of Hakusan City, Ishikawa Prefecture, it has been designated as a traditional craft.
It attracts attention not only from craft collectors and kimono enthusiasts but also in the context of regional promotion and community revitalization. Below, we provide detailed explanations of the characteristics of its production area, the texture created by tama-ito (cocoon silk), and the secret behind its unparalleled strength.
Tama-ito Textile Inherited for 800 Years in Shirakawa District, Hakusan City, Ishikawa Prefecture
The production area of Ushikubi Tsumugi is the Shirakawa district of Hakusan City, Ishikawa Prefecture, a harsh heavy snow region along the upper reaches of the Tedori River. The history of Ushikubi Tsumugi dates back to the Kamakura period, when women in the area took up weaving as a side business during the winter agricultural off-season, supporting the community’s livelihood.
During the Edo period, it received protection from the Kaga Domain and became part of the “Kaga Silk” brand, with its high quality becoming widely known. However, in the early Showa period, production drastically declined due to the spread of inexpensive machine-woven textiles, bringing it to the brink of extinction.
After the war, technical preservation activities began with the spirit of “don’t let Shirakawa’s treasure disappear,” and through the efforts of local weavers and researchers, the techniques were restored. In 1979 (Showa 54), it became an Ishikawa Prefecture Intangible Cultural Property, and in 1988 (Showa 63), it was designated as a Traditional Craft by the Minister of Economy, Trade and Industry. Currently, the Shirakawa Textile Workshop and the Ushikubi Tsumugi Technical Preservation Association are at the center of efforts to preserve tradition while developing new designs and training successors, receiving high praise from craft enthusiasts both domestically and internationally.
“Tama-ito” from Double Cocoons Creates Texture and Elegant Luster
The greatest characteristic of Ushikubi Tsumugi is the use of special thread called “tama-ito.” Tama-ito is obtained from “tama-mayu” (double cocoons) created jointly by two silkworms, causing the threads to intertwine irregularly and creating distinctive nodes (fushi).
These nodes give the woven fabric a natural and rich expression, showing different textures even within the same bolt of cloth. Additionally, because tama-ito easily diffuses light, it possesses a subtle and deep luster.
Strongly twisted tama-ito combines suppleness with resilience, offering a soft wearing experience while being resistant to losing its shape—an excellent practical feature. Handling tama-ito requires advanced craftsmanship, with skilled techniques needed for every process from cocoon selection to za-guri (hand-spinning), twisting, and weaving. These processes, managed by craftsmen’s intuition and experience, support the beauty and durability of high-quality Ushikubi Tsumugi.
Won’t Tear Even When Hung on a Nail—Amazing Durability Created by Strong Twisting
The reason Ushikubi Tsumugi is called “kuginuke” lies in its extremely high durability. As the anecdote shows that the fabric won’t tear even when caught on a nail and pulled hard, weaving with strongly twisted tama-ito creates an extremely sturdy and elastic fabric.
Because tama-ito has cocoon fibers that intertwine in complex ways, twisting causes the fibers to bind densely together, creating a structure that is very resistant to friction and tension. Therefore, it can withstand years of wear and re-tailoring, and has been treasured as a “lifetime piece” passed down from parent to child across generations.
It also has the property of becoming soft and stretchy when it absorbs moisture, achieving a comfortable fit that conforms pleasantly to the skin even in Japan’s hot and humid climate. To achieve both this strength and comfort requires advanced twisting and weaving techniques, and in the Shirakawa district, a small number of craftsmen continue to preserve tradition while developing new products such as obi sashes and accessories.
Unraveling the History of Ushikubi Tsumugi: The Journey from Kaga Domain to Modern Times
Ushikubi Tsumugi is a silk textile with over 800 years of history in the Shirakawa district of Hakusan City, Ishikawa Prefecture. This textile, cultivated in a snowy mountain village, is known for sericulture that utilized the harsh natural environment, weaving using unique tama-ito from double cocoons, and strength so remarkable it’s called “kuginuke.” During the Edo period, it was used as official wear for the samurai class as a Kaga Domain specialty, spreading its reputation nationwide.
Although production drastically declined due to the wave of modern mechanization, it was revived through the passion and technical preservation efforts of local people, and traditional hand-weaving continues to be protected by a small number of craftsmen today. Here, we explain in detail the history that Ushikubi Tsumugi has followed, divided into three stages.
Snow Country Textile That Began as Household Fabric in a Mountain Village with Thriving Sericulture
The origins of Ushikubi Tsumugi lie in the special geography and climate of the heavy snow region of Shirakawa district in Hakusan City, Ishikawa Prefecture. In mountain villages where agricultural work was impossible during winter, women inherited sericulture, silk production, and weaving as indoor work they could do at home.
Particularly in the Shirakawa district, techniques for using tama-ito from double cocoons developed, and a culture of weaving sturdy pongee fabric with textured surfaces for household clothing, bedding, and obi sashes took root. The abundant water resources unique to snow country were suitable for silk refining and dyeing, and the severe cold suppressed pest outbreaks, supporting the production of high-quality cocoons.
Ushikubi Tsumugi, born from this way of life, was a valuable source of winter cash income for rural women and an important skill that supported family livelihoods, passed down from mother to daughter. The geographical conditions of the isolated mountain area of Shirakawa district also created the foundation for preserving these unique techniques for a long time.
Adopted as Formal Wear for Samurai as Kaga Domain Official Textile, Expanding Recognition
During the Edo period, the high quality of Ushikubi Tsumugi was recognized by the Kaga Domain and it became protected as an official textile. Durable, tear-resistant, and possessing calm colors and luster, Ushikubi Tsumugi was valued for formal wear such as samurai kamishimo (ceremonial dress), hakama (formal trousers), and haori (formal jackets).
The Kaga Domain protected and promoted excellent textile techniques as part of its local industry encouragement policy, promoting production in each village to achieve technical transmission and quality improvement. As a result, the pongee woven in Shirakawa district grew to occupy a corner of the “Kaga Silk” brand and began to be distributed to other provinces through nearby merchants.
Domain inspections and regulations also promoted quality standardization, and the beautiful textured feel created by tama-ito and the distinctive resilience and luster produced by strongly twisted threads came to be highly valued. These protective policies developed Ushikubi Tsumugi into an industry representing Shirakawa district.
Overcoming the Wave of Showa-Era Mechanization to Preserve Jibata Hand-Weaving
Entering the modern era, machine-woven textiles became widespread nationwide, and demand for Ushikubi Tsumugi rapidly decreased as it was pushed out by inexpensive, mass-producible products. By early Showa, the number of weavers had drastically declined, and it nearly disappeared completely at one point.
However, after the war, local weavers and researchers worked on technical restoration with the strong belief of “don’t let Shirakawa’s treasure disappear.” They reproduced traditional hand-weaving techniques using jibata (ground looms) and systematized the consistent handwork from tama-ito za-guri to twisting, dyeing, and weaving. In 1988, it was designated as a national traditional craft, advancing quality standards and technical protection.
Even today, a small number of craftsmen continue their activities centered around the Shirakawa Textile Workshop and preservation associations, developing new products such as kimono, obi sashes, and accessories while working on successor training and regional brand promotion. These steady efforts have become a major force in transmitting Ushikubi Tsumugi to the present day.
Three Charms of Ushikubi Tsumugi
Ushikubi Tsumugi is one of Japan’s finest silk textiles, equipped with durability called “kuginuke,” distinctive texture from tama-ito, and elegant luster. However, its value lies not merely in being durable, but in its nature as a “kimono to nurture” that fascinates the wearer and accompanies them for a long time.
The fabric quality that balances distinctive crispness with soft drape, rich expressiveness through dyeing, and the texture that deepens in luster over the years radiates irreplaceable charm both as a craft and as clothing. Here, we explain in detail the three characteristics that Ushikubi Tsumugi boasts and unravel the depth of its charm.
Fabric Quality Where Crisp Resilience and Soft Drape Coexist
The fabric of Ushikubi Tsumugi simultaneously achieves a “crisp feel” and suppleness unique among silk textiles by using strongly twisted tama-ito. Strongly twisted thread gives the fabric body and resilience, maintaining a beautiful silhouette when tailored.
On the other hand, the nodes of tama-ito and the complex intertwining of fibers create soft drape, producing a falling sensation that nestles close to the wearer’s body. While it may initially feel quite stiff, repeated wearing and care gradually increases its smooth softness, allowing it to conform to the body—this is also part of its charm. This fabric quality resists losing its shape even during long periods of wear and can maintain an elegant appearance.
Additionally, because of its high durability, re-tailoring and inheritance across generations are possible, making it truly beloved as a lifetime kimono.
Excellent Dye Absorption—Vibrant Colors Whether Pre-Dyed or Post-Dyed
The tama-ito that can be called the life of Ushikubi Tsumugi is drawn by hand from “tama-mayu” (double cocoons) created jointly by two silkworms. This is called “nobe-biki.” Because double cocoons have intertwined threads, machine reeling is difficult, so craftsmen use a hand-turned tool called za-guri to draw out thread with exquisite care.
The custom of performing this work indoors during winter when agricultural work was impossible took root in the snow-deep Shirakawa district. Winter’s low temperatures stabilize thread condition and create sanitary conditions that suppress pests. Additionally, thread washing and refining using pure snowmelt water keeps fibers clean and provides an ideal base for dyeing.
These ground-level processes of boiling double cocoons, drawing out thread, and sorting that utilize natural conditions lay the foundation for the beautiful nodes and durability of Ushikubi Tsumugi. Through years of experience, craftsmen judge “thread thickness,” “node position,” and “twist balance” to create high-quality tama-ito that looks good when tailored.
Distinctive Texture Born from Repeated Strong Twisting and Moistening
The tama-ito that can be called the life of Ushikubi Tsumugi must go through a process called “Hatchou Yori-ito” (eight-block twisting) before being woven. The twist applied here is kept from untwisted to lightly twisted, not strongly twisted, and adjusted so that the original nodes of tama-ito remain fully preserved. By densely beating in tama-ito with nodes, the woven fabric develops the fine unevenness and natural resilience characteristic of Ushikubi Tsumugi, making its texture stand out.
Twisting is performed only once while the tama-ito drawn by za-guri is still moist. If the thread dries out, twisting becomes difficult, so the craftsman’s delicate skill in judging moisture condition is indispensable. After twisting, instead of drying, handwork called “ito-hataki” (thread beating) incorporates air into the thread, uniformly arranging suppleness and elasticity. This thread-beating process prevents twist return and unevenness, making it possible to improve the texture of the entire fabric.
This series of handwork is completely difficult to mechanize and is performed while judging temperature, humidity, and thread condition through experience and intuition. As a result, Ushikubi Tsumugi achieves the distinctive texture that simultaneously possesses both “crisp touch” and “moist drape” that other pongee textiles don’t have. The finely remaining node unevenness and the airiness from thread-beating combine to give a single bolt of fabric deep luster and rich dimensionality.
Jibata Hand-Weaving Aligns Node Rhythm and Achieves Kuginuke Strength
The final stage is hand-weaving using jibata (ground looms). The strength and beautiful node texture characteristic of Ushikubi Tsumugi are completed when craftsmen carefully manipulate the threads. A jibata is a simple loom fixed to the floor, where the weaver uses feet and hands to raise and lower warp threads, passing weft threads one by one.
This method allows fine adjustment of weaving width and tension, making it possible to create beautiful fabric surfaces with rhythmically arranged nodes even with tama-ito. Furthermore, by adjusting the force of beating in weft threads, threads are made to intertwine densely, creating an organization resistant to friction and tension.
This creates durability so great it’s said “won’t tear even when hung on a nail.” By craftsmen checking node arrangement and subtle changes in texture that machine weaving cannot fully express through sight and touch while finishing, each roll becomes a unique work. In this way, a bolt with beautiful resilience and suppleness suitable for tailoring is woven, completing Ushikubi Tsumugi that fits beautifully to the wearer’s body.
Efforts for Preservation and Inheritance of Ushikubi Tsumugi
Ushikubi Tsumugi is one of Japan’s finest silk textiles that has been inherited for over 800 years centered in the Shirakawa district of Hakusan City, Ishikawa Prefecture, but its preservation and inheritance have never been self-evident. Production once drastically declined due to early Showa mechanization and the rise of inexpensive textiles, even facing the crisis of extinction.
This was supported by steady restoration activities by local craftsmen, administration, and researchers, along with comprehensive efforts across multiple areas including next-generation development, brand protection, and raw material procurement. Here, we explain in detail the specific efforts being made to connect Ushikubi Tsumugi to the future.
Technical Preservation and Quality Management
Additionally, since the Production Promotion Cooperative was established in 1983, through “traditional industry promotion projects” and “technique improvement projects,” quality standards have been systematized and product inspections conducted systematically, with certification labels attached only to textiles meeting standards.
Education and Training Programs
Hakusan Workshop (formerly Shirakawa Textile Museum) and Kato Hand-Woven Ushikubi Tsumugi Workshop conduct loom experiences, za-guri (nobe-biki) demonstrations, and tours of the entire process from tama-ito making to dyeing by complete reservation. In addition to lectures by craftsmen, visitors can experience thread drawing and weaving themselves through hands-on training, promoting skill transmission to younger generations.
External Collaboration and Promotion Activities
Collaborating with schools and local governments within and outside Ishikawa Prefecture to promote acceptance of regional learning and social studies field trips. Through live broadcast introduction on NHK’s “Hiru Bura” (2017) and special exhibitions in Kanazawa and Tokyo, efforts are being made to expand recognition among general consumers. Additionally, in collaboration with JETRO, attempts are being made to develop Western-style textile applications in European markets, with ongoing trials to have traditional techniques evaluated in new markets.
Co-creation with Local Communities
Strengthening utilization as tourism resources through booth exhibitions at local festivals and industrial fairs, workshop tour events, and recreations of traditional ceremonies. Through guides and workshops for foreign visitors to Japan, an environment is being established where the entire region supports production area culture. This enables sustainable regional development that balances traditional crafts and tourism even in mountainous areas facing population decline.
Through these multifaceted preservation and inheritance activities, the advanced techniques and local culture of Ushikubi Tsumugi are being reliably passed down to the next generation, and its value and charm continue to be promoted domestically and internationally.
Conclusion
Ushikubi Tsumugi is a silk textile representing Japan that has been cultivated alongside the harsh nature of the Shirakawa district in Hakusan City, Ishikawa Prefecture, boasting over 800 years of history. Its charm lies in the durability called kuginuke, the nodes and luster created by tama-ito, and its value as a “kimono to nurture” that deepens in luster with use.
However, what supports this is advanced craftsmanship and meticulous manufacturing processes involving multiple stages of handwork including za-guri, strong twisting, and jibata hand-weaving. In recent years, while facing challenges such as successor shortages and raw material procurement, various efforts are being promoted including traditional craft designation and brand protection through regional collective trademarks, successor training schools, and Shirakawa mulberry revival.
These activities are important endeavors that go beyond simply weaving fabric to connect regional life and culture to the future. Understanding Ushikubi Tsumugi also means knowing the sustainability and regional strength that Japanese traditional crafts possess.
