Tamiya Raden | Masters of Shell-Woven Silk

MAKERS | ASIA | JAPAN | TEXTILES Tamiya Raden | Masters of Shell-Woven Silk Kyoji Tamiya, President of Tamiya Raden ©TAMIYA RADEN   The Tango region of Kyoto, facing the Sea of Japan, has long been celebrated for its weaving culture and the making of exquisite kimono obi. Within this rich textile tradition, Tamiya Raden has created something extraordinarily rare: a craft that transforms shell nacre into shimmering threads, woven into cloth through an innovative adaptation of hikihaku. Founded in the late 1970s by Katsuichiro Tamiya, the atelier’s work brings together sea, silk, and light in textiles that are both deeply rooted in place and unlike anything else in Japanese craft.   How did it begin?Could you tell us the history of Tamiya Raden and how this craft became part of your atelier’s story? In the late 1970s, our founder, Katsuichiro Tamiya, who ran a weaving workshop for traditional kimono obi in the Tango region of Kyoto, facing the Sea of Japan, was deeply moved by the beauty of raden objects he encountered at the Shōsōin Exhibition. Inspired by their luminous quality, he set out to express that same beauty through textiles. After two years of experimentation, he succeeded by adapting the traditional weaving technique of hikihaku, in which gold leaf is applied to washi paper, cut into flat threads, and woven as weft into cloth. This marked the beginning of Tamiya Raden: a moment when shells gathered from the nearby sea were brought into dialogue with the textile traditions of the region, rooted in its history and natural environment. It was a groundbreaking innovation — transforming nacre, with all the memory of the sea’s light, into thread, and reconstructing that natural brilliance within a woven structure. How has this craft been learned and preserved?Could you tell us about the training, knowledge, and techniques involved, and how they have been passed down through generations? The techniques have been preserved and passed down within the workshop across generations. Japan’s long kimono tradition has sustained this meticulous and highly time-intensive form of craftsmanship, with kimono historically valued as luxury objects. In recent years, however, demand has declined significantly due to factors such as Japan’s shrinking population, shifting consumer values, and the persistence of traditional business structures. As a result, many techniques are now at risk of disappearing. Since 2006, we have looked overseas for new opportunities, gradually expanding the application of our work into fields such as luxury fashion, high-end watchmaking, interiors, and art. Our aim is to carry this craft into the future by continually redefining its value and purpose — adapting it to contemporary contexts and refining how and where our work is presented.   What inspires your creations the most?The local sea and surrounding nature, works of art, Japanese painting, textiles, and Buddhism. Are there particular materials, traditions, landscapes, or ideas that continuously influence your work? The nacre of shells, light, the natural environment of Tango, silk threads, kimono and Japanese traditions, as well as the philosophies of prayer and impermanence. [SECTION]   How are your works created?Could you explain the process of transforming shells into thread and textiles, and each stage leading to the final piece? The shells are shaved into thin sheets, cut into patterned shapes, and adhered onto washi paper to create a collage-like composition. This is then cut into fine, flat threads and woven one by one as weft, carefully aligned edge to edge. What is unique about handling shells in this way? We deconstruct the natural nacre of the shell and reconstruct it within a textile structure. As a flexible textile, this allows the distinctive beauty of nacre to be expressed in a wide variety of forms. As wearable pieces, or as materials that move with the wind, the works reveal the living light of the sea, animated by motion and the passage of time.   What does the material itself demand from the maker, and what makes shells so special to work with? The nacre of a shell is a crystallisation of light that has travelled through the sea over long periods of time — it can almost be understood as a form of living light. Its quiet, profound radiance draws the viewer inward and gives it a uniquely captivating presence. Our challenge lies in finding new ways to express and harness this intrinsic beauty. How do you select and prepare the shells? We work with a long-standing supplier in Kyoto who specialises in shells for craft use, and from whom we custom-order high-quality shell plates suited to our needs. Once acquired, each piece is carefully cleaned, and its particular luminous qualities are taken into account throughout the production process.   How do material choices — the natural colours, iridescence, and individuality of each shell — affect the final work? Because light and colour are so important to our process, we primarily work with around six types of shell. These range from softly reflective to intensely luminous, and include white, blue, black, and brown tones, each with its own distinctive iridescence. We select them according to the image and feeling of the piece. They are woven together with silk threads, and the final appearance of the nacre can change dramatically depending on the colour of the silk and the weave structure. We explore a wide range of expressions — sometimes seeking natural tones, and at other times pursuing entirely new visual effects — experimenting with reflection, texture, harmony, and contrast across the textile. What are the greatest challenges and joys in transforming shells into such delicate, thread-like materials? One of the greatest challenges is ensuring that the nacre adheres securely to the washi paper. The glue mixture must be carefully adjusted: in summer it must be less viscous, so that heat generated during cutting does not bring the adhesive to the surface and dull the nacre’s shine; in winter it must be thicker, to prevent peeling caused by dryness. At times, cutting fails and threads remain only partially cut. This may be due to the thickness of the shell or paper, or the condition of the cutting blade. We also adjust the thickness of the threads according to the weave structure and weft density, and sometimes colour the reverse side of the shell to alter the final expression. These subtle decisions have a significant impact on the finished work, and achieving balance is never simple. During weaving, further ingenuity is required in order to align the delicate shell threads precisely and prevent peeling. We are constantly repeating experiments and tests, waiting for something exceptional to emerge. On rare occasions, something truly exhilarating is created — and that is our greatest joy.   Does this process require particular patience, precision, or a unique perspective? It demands a great deal of precision, as well as the ability to manage complex processes and balance multiple considerations at once. Adaptability in response to changing materials and methods is also essential. Experience, patience, observation, and concentration are all indispensable. [SECTION]   What does a typical day look like? Our work is fundamentally collaborative and involves all members of the workshop, while I oversee the process as a whole. My role includes sharing ideas, directing designs, punch cards, and sample production, and reviewing completed samples and finished works. New ideas are constantly cultivated by absorbing a wide range of influences and allowing them to develop over time. A place that most inspires you? The sea, the seasons, and the natural world of Tango inspire me most. The meridian of Japan runs through Tango, and it is a place where the beauty of all four distinct seasons can be deeply felt. From the harshness of winter to the budding of spring, one senses a profound blessing of life.   Interview by Cabana  Images from Tamiya Raden

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