New Directions for Washi: The Sustainable, Elegant Use of Paper

A washi designer combines huge sheets of washi with lighting to enliven open architectural spaces. Stoles made from dyed, washi-woven textile are the amalgamation of traditional Kyoto chic. An apparel company sells washi clothing and later collects them to make vegetable fertilizer. Daily items made from papier mache-style lacquer using washi enjoy renewed interest for their ability to be repaired for reuse. Discover how Kyoto's traditional skills and culture stretch the potential of washi.

Transcript

00:13

Core Kyoto.

00:21

Explosions of water.

00:30

"Washi" is innovating as never before.

00:35

Our role is to ensure the
continued evolution of washi - as we carry its 1,300-year
history into the future.

00:50

Age-old production methods now spur new traditions.

00:57

Innovations such as using "washi" thread in kimono create exciting new opportunities.

01:04

We enjoy transforming out-of-date
fashion into something new.

01:11

Mulberry tree bark is the primary material in "washi" papermaking.

01:17

The pulp is removed and strained through multiple processes to create sheets of fine washi.

01:28

Washi artisans are committed to expanding the horizons of this handmade paper.

01:37

Core Kyoto investigates the daring new paths washi creators are exploring for sustainability.

01:56

The sun sets on a summer's eve, and this modern structure glows as though lit by paper lanterns.

02:06

The exterior wall incorporates 153 giant sheets of handmade washi.

02:12

The flickering draws and captivates onlookers.

02:25

Kyoto-based designer and washi creator Horiki Eriko has upended conventional concepts of handmade washi with her unique architectural interiors.

02:41

Many of her creations blend washi and lighting, in what she calls "light walls."

02:50

Her creative flair challenges the expressive horizons of washi.

02:58

Beyond planar boundaries, she also creates 3D washi lighting.

03:05

This 28-meter sculpture stretches across a commercial facility.

03:14

This electric vehicle debuted at Expo 2000 in Hanover, Germany.

03:21

The entire car, save tires and electrical parts, was washi.

03:29

I use washi to create a spatial
atmosphere on one side.

03:33

And I consider how to integrate
images from the other side.

03:38

I think of it as an environmental
resource that creates lifestyle spaces.

03:47

This subterranean Kyoto bar features light walls which soften the ambience.

03:53

It is washi made by inlaying silk threads used in Kyoto Nishijin brocade.

04:04

Light dimmers play with the colors, reflecting solar and seasonal changes.

04:13

We can feel happy or sad
upon entering a washi room.

04:19

It accommodates
our changing feelings.

04:25

It plays a role in
cleansing the heart.

04:33

Echizen, which lies in Fukui Prefecture, is a prominent handmade washi producer.

04:39

It is also home to one of Japan's few Shinto sanctuaries dedicated to the deity of paper.

04:47

This workshop was founded in 1865.

04:54

Horiki first entered its premises on a winter's day when she was 22 and working for a company developing washi products.

05:10

She found artisans silently repeating the same task in the freezing cold.

05:20

The papermakers were up to their
elbows in painfully icy water, separating raw materials and
hand-straining fibers.

05:31

I was struck by how
noble this work is.

05:36

1,300 years of tradition, handling
a single material day after day.

05:43

What an amazing world.

05:48

However, demand in quality handmade washi plummeted due to cheap mass production.

05:54

Her employer went bankrupt.

06:00

Horiki established her own washi brand, impassioned to see the artisans' skills carried over to the next generation.

06:14

Her current project is designing for home interior walls.

06:22

This measures 2.7 x 2.1 meters - more than twice the size of conventional handmade washi.

06:32

Horiki and her staff always work alongside the team of Echizen artisans.

06:41

There is no room for error in the next step.

06:47

My staff developed drawings and guidelines
for the washi I want to create, yet we have not shared the finer details
with the Echizen team.

07:00

So half of the papermakers are
working without a master plan, while we are aiming for
a specific result.

07:09

We treasure the 30% random factor
that the process generates.

07:14

It enables fabulous,
unimaginable designs.

07:20

And that is the wonder
of washi creation.

07:24

Many of Horiki's works are made from long strips of mulberry bark.

07:34

This allows the material to be worked freely into any sort of pattern.

07:38

Horiki invests time in cultivating new skills to fulfill client requests.

07:51

Water is flung from straw scrub brushes onto half-dried washi.

07:55

This excites the fibers, creating a soft, uneven design of tiny craters.

08:14

The half-dried sheet is layered on top of the sheet of mulberry bark strips.

08:21

If the fibers dry, they will not adhere, so layering must be swift.

08:25

Handmade papermaking is a race against time.

08:31

Horiki typically layers three to seven sheets, each with a different design.

08:41

Countless tiny bubbles appear in the gaps between the layers of various thicknesses.

08:49

Once the washi dries, the bubbles burst, damaging the creation.

08:56

Everyone Horiki consulted insisted that her method was impossible.

09:03

However, it occurred to her that they could try suctioning the bubbles out.

09:08

Turning the paper over, you'll
find a finite number of bubbles.

09:12

If you have 10,000,
that will never increase.

09:16

Suck out one bubble,
and only 9,999 remain.

09:21

If you keep sucking,
that number falls to zero.

09:25

It's about spotting the cause
and finding a solution.

09:32

The artisans secure the layered washi on a wooden frame to prevent peeling or shrinking.

09:42

It is left to dry overnight in a room with uniform temperature and humidity.

09:50

This work depicting a waterfall is comprised of seven layers.

09:57

Each layer becomes visible when the washi is backlit.

10:03

The linear pattern was created using a cloth-like mold on one of the washi layers.

10:11

The oblique dark green lines were achieved by placing dyed fibers, resulting in an energetic design.

10:22

The pattern created by flinging water expresses the waterfall's spray.

10:30

Horiki encloses all her designs between two sheets of white washi.

10:41

Artisans believed that white
paper forms a link with deities.

10:47

Shrines use sacred rope
and white washi to create - mystical barriers between
the deities and humans.

10:57

We work with various
colors and materials.

11:02

Sandwiching those between
layers of white washi, we can relate the artisans'
spirituality to later generations.

11:18

Floral containers, baskets, and boxes are commonly used in daily life.

11:23

All these are covered in washi.

11:30

"Ikkanbari" is an art form in which bamboo and wooden objects are covered with layered washi, and finished with astringent persimmon juice and lacquer.

11:43

The technique was brought from China by a lacquerer in the 17th century.

11:51

These papier-mâche items were treasured in the pre-plastic era as they were sturdy and light.

12:00

The art form diverged into the Hikike style, which concentrated on tea utensils, and the Senoshike style, which focused on everyday implements.

12:09

Each branch developed its own techniques.

12:17

The workshop is run by Onoe Zuihou, a 14th generation "ikkanbari" artisan.

12:25

Although washi products have decreased in number, the material is heralded for its eco-friendly characteristics.

12:33

You can make almost anything
this way.

12:37

They apparently even made
Buddhist statues.

12:43

Her current project is a small dish made from braided bamboo.

12:49

Washi is pasted onto the item using a starch paste.

12:57

She tears the paper by hand so that the fibers are directed outward, creating a seamless blend when the sheets overlap.

13:09

The front of the dish is covered first, followed by the bottom, then the rim.

13:19

When the underlay dries, the final layer of washi is added.

13:25

Onoe has chosen Tango-Futamata washi, made in northern Kyoto Prefecture, for her final layer.

13:31

It is a sturdy paper with long fibers.

13:37

The dense fibers remain strong even with considerable glue, and adapt well to minute irregularities.

13:53

Onoe finishes it with astringent persimmon juice, which ensures waterproofing and insect resistance, and acts as a preservative.

14:05

The treatment is repeatedly applied on three consecutive days.

14:14

The seams are invisible.

14:16

The finished work preserves the bamboo shape, while the washi contributes a gentle finish.

14:26

Onoe receives requests for "ikkanbari" repairs from across Japan.

14:31

She estimates that this basket was originally made some 200 years ago.

14:39

She is preparing to breathe new life into the damaged item.

14:44

Respecting the feelings of
the creators and the users - is a spiritual element of
the traditional "ikkanbari" technique.

14:56

I do my best to repair and
preserve these items.

15:05

Zuiun is Onoe's eldest son.

15:11

He creates "ikkanbari" artwork suited to today's world.

15:18

Zuiun prefers to work with "Kyoto yuzen washi" that is dyed in various patterns.

15:26

These accessories include multiple layers of washi featuring elegant patterns.

15:35

It's difficult to promote traditional crafts in
this era of mass production and consumption, so I started by creating
accessories for young people.

15:50

Zuiun consciously highlights the seams, and finishes his items with a coating of transparent konjac paste.

16:00

It's important to convey the value
of things to a wider audience, so we highlight a range of
handicrafts, not just "ikkanbari."

16:21

Kurotani is located near the coast of Kyoto Prefecture.

16:25

With mountains and pure streams, it has been a production center for handmade washi for some 800 years.

16:35

Kurotani welcomes artisans from outside the area, who are fascinated with papermaking.

16:43

The handmade washi industry
has continued to decline, but Kurotani established a cooperative
to shoulder the business end.

16:57

This allows artisans to
focus on their craft.

17:00

The system has long sustained us
and has allowed us to survive.

17:10

Yoshino Ayano left Aichi Prefecture to settle here in 1999.

17:21

I fell in love with the beauty of
Kurotani washi stationery at first sight.

17:30

My desire to create this
pretty paper brought me here.

17:39

Young artisans have gathered in Kurotani in recent years to explore new uses for washi.

17:50

Kurotani Paper Cloth is one such eye-catching innovation.

17:57

The fabric is produced by weaving silk thread with the handmade Kurotani washi.

18:06

For centuries, paper cloth was treasured for kimono and other items, but it is no longer produced due to inconvenience and cost.

18:15

However, the flexibility and excellent ventilation of Kurotani Paper Cloth offer a light and airy texture.

18:28

This washi stole was developed to showcase the merits of Kurotani Paper Cloth and its relative affordability.

18:44

Thin washi bearing fine slits is torn into one long strip.

18:55

The bobbin is wound while maintaining tautness.

18:58

Once securely around the bobbin, the washi strips are twisted into thread.

19:07

The washi has knots where
strips are connected.

19:12

And there are more knots where
torn strips have been rejoined.

19:17

They provide attractive
accents in the fabric.

19:25

The weaving is entrusted to a workshop specializing in traditional "Kyoto Tango chirimen" crepe fabric, which has a 300-year history.

19:38

Two silk threads twisted together are used for the warp, and Kurotani washi for the weft.

19:44

The rough weave allows the fabric to breathe, and the flexible diagonal stretch affords a superior finish.

19:50

Both are characteristics of "Tango chirimen."

19:55

The thread catches and breaks
in places where there are knots.

20:00

Without the thick parts, weaving
would be easy - a real conundrum.

20:11

The washi makers made adjustments
to ease the process.

20:27

The resulting textile reflects the unique soft feel of washi and the nodulous richness it brings to the fabric.

20:37

The fabric undergoes its final step at a dyeing workshop in Kyoto.

20:48

The stole is being tie-dyed.

20:51

The areas to be left white are bound with yarn.

20:57

Both ends of this stole are being tied.

21:06

The stole is then dyed indigo blue.

21:09

It's paper, so it may crinkle
if handled too roughly.

21:15

We are careful with it.

21:18

It looks fine.
The dyeing was successful.

21:28

When done, the thread is removed to reveal the pattern.

21:40

The Kurotani papermakers' vision joins with the best traditions Kyoto has to offer.

21:52

Teaming up with Tango weavers and Kyoto
dyers results in more sophisticated products.

22:00

Now we must address how to
turn that into a livelihood.

22:13

Kyoto's lush rural community of Miyama is known as a production center for heritage Kyoto vegetables.

22:23

This year the area is enjoying a bumper crop of summer vegetables, which are fertilized with washi clothing.

22:34

Sonobe Hiroshi runs an apparel company in Tokyo.

22:38

He once worked in product planning and development for a major Japanese fast fashion retailer.

22:44

But, riddled with doubt over mass production and mass waste, he launched his own business in 2017.

22:54

He began by developing clothes made from washi, with a vision of a waste-free, clothing-and-food circular system.

23:05

The clothing his company sells is later collected and converted to fertilizer, with the resulting vegetables being sold mainly online.

23:15

Sonobe believes that the washi used in clothing has great utility value.

23:21

Washi naturally blocks
ultraviolet light and deodorizes.

23:30

These two functions have long been
indispensable in our daily life.

23:35

He chose Miyama in Kyoto for his farm.

23:42

The rich natural environment had the ideal temperature and humidity for demonstrating the potential of washi, satisfying all of Sonobe's requirements.

23:54

At first, he utilized sheets of recycled clothing, but discovered they took some three months to decompose.

24:02

He then tried using a crusher.

24:08

Collecting, pulverizing, and turning clothing
into fertilizer enhances its utility value.

24:16

Adding organic matter to pulverized washi hastens fermentation.

24:21

Sonobe can generate fertilizer in just four weeks, significantly speeding up soil activation.

24:30

Sonobe also receives help in the project from other local Miyama farmers.

24:36

One visible effect is the increased
sponginess of the soil.

24:41

You can see it and feel it.
It took me by surprise.

24:46

Washi is amazing.

24:49

Sonobe is currently running another experiment.

24:54

He is measuring the respective effects of natural and synthetic fibers on soil, when used in fertilizers.

25:08

Many countries face the
issue of textile waste.

25:12

As we perfect our solution, we hope
to share it from Kyoto to the world.

25:27

In 2022, Horiki Eriko delivered a new work for the lobby of this hotel, which stands beside the Kamo River.

25:35

It is a light wall made from washi sandwiched between laminated glass.

25:43

The multiple layers of washi, which are embedded with silver leaf, emit a restrained yet refined radiance.

25:56

Silver leaf is opaque, so shadows appear when it is backlit.

26:03

The light's intensity and direction transform the mood, and shift spatial impressions.

26:12

The customers check in, and then let's say they go out again at night, when they exit the building, then they see this on dawn, and it's a totally different experience again.

26:23

So because of the weather's changing - on cloudy days, sunny days - when they come in, at some time of the day and they go out at another time of the day,

26:32

they're always getting a different experience, and this whole hotel, I think that was the real goal - was to have a different experience every time the customer comes.

26:45

In 2000, Horiki established a workshop in Kyoto.

26:54

The facility is equipped to handle large-scale works of art exceeding 10 meters in length.

27:04

Here, Horiki develops innovative techniques ,and trains an upcoming generation of artisans.

27:13

Providing user-friendly tools and easy
access to them is key for us to increasing - the number of washi artisans,
propelling tradition into the future.

27:25

Then we nurture our innovations to become
traditions themselves in 100 or 200-years' time.

27:35

Washi has long helped to sustain life in Kyoto.

27:43

Artisans cherish the traditions, and explore innovations into washi's potential, to ensure its future use.