KOMIYA Yasuyoshi (Edo Komon artist)
Written by TOMIKAWA Kyōko
From the top down: Edo Komon Kimono Fabric “Kenkenpa” (2022), “Trump” (2017), “Zō (象: elephant)” (2021). All are Edo Komon pieces dyed using new stencils.
On “Moon Shot”, the waxing and waning of the moon are incorporated into komon (小紋: fine patterns). On “Kenkenpa (けんけんぱ: hopscotch)”, the children’s game of hopping on one foot (kenken) across squares is transformed into an intricate pattern. On “Trump”, the designs of playing cards are arranged like a finely detailed stone pavement.
From these patterns, a new horizon of Edo Komon (江戸小紋) emerges.
On the banks of Tokyo’s Nakagawa River, there is a man who quietly and diligently dedicates himself daily to the process of katatsuke (型付け). To create patterns on kimono fabric he uses stencils to apply paste to prevent certain areas from being dyed.
KOMIYA Yasuyoshi (小宮 康義).
The eldest son of the KOMIYA family, which for three generations have been recognised as Living National Treasures for Edo Komon, Yasuyoshi has taken on their legacy as the 4th generation successor to carry on the traditions developed by his great-grandfather, grandfather, and father.
Tokyo is a city of rivers.
Arakawa, Sumidagawa, Edogawa, Nakagawa, Kandagawa, Shakujii-gawa…
The city exists alongside its rivers and waters, just as Edo once did.
In the old days of Edo, kimono dyeing workshops lined the banks of the Sumida River. Whether for yūzen zome* dyeing or komon dyeing, the process of washing off paste and excess dye from fabrics was carried out in the river.
*Yūzen zome (友禅染): another well-known traditional kimono textile dyeing technique using colourful patterns based on motifs of animals, plants and natural scenery.
The quality of water in Edo was excellent and seemed to be well-suited for dyeing. In his novel “Shifuku Sennen (『至福千年』: The Blissful Millennium)”, which begins with the story of Edo Sarasa craftsmen, ISHIKAWA Jun wrote:
“First, water. The quality of its nature has a direct impact on the work. Within Edo, the water from areas such as Yanaka-Sansaki or Asakusa-Hottawara is scarcely inferior even to that of Kyoto.”
For Edo Komon, a dyeing technique using stencils, Edo’s water was, of course, an indispensable element.
Nakagawa river circa 1955 (Showa 30). Fabric washing is carried out using river water. Due to its high quality, dyeing factories lined the riverbanks.
The Origins of Edo Komon
A paper stencil (型紙 katagami) is placed on kimono fabric, and blue blocking paste is applied through it to prevent dye to reaching the stencilled parts. Stencil sizes range from 15 to 25 cm in length and 38 to 40 cm in width. Using this stencil, a single bolt of kimono fabric—approximately 13 m long and 38 cm wide—is dyed. The key challenge lies in placing the paper stencil precisely without any misalignment.
Let us take a moment to reflect on Edo Komon.
First, what is komon?
It refers to kimono fabric dyed using stencils to create tiny, intricate patterns across an entire length of cloth (tanmono 反物: a bolt of kimono fabric). Among the many kimono styles, komon is considered relatively casual.
Historically, komon dyeing was centred in certain regions of Tokyo (Edo), Kyoto, and Ishikawa (Kaga).
Among these, the uniquely sophisticated techniques of Edo Komon were developed.
During the Edo period (1603-1867), the samurai class initially wore plain kamishimo*. Over time, feudal domains (藩 han) began to incorporate their own distinctive patterns into fabrics, to identify the domain a person belonged to.
*kamishimo (裃): formal attire consisting of a kataginu (肩衣: sleeveless robe) and hakama (袴) trousers.
As is always the case, fashion trends transcend class boundaries.
Edo’s general public, inspired by the orderly and refined patterns favoured by the samurai, added a touch of playfulness. Designs inspired by nature—such as dew-covered lawn grass, cherry blossoms and plum blossoms—became popular, along with more playful motifs featuring daikon radishes with graters, Daruma dolls, and even stylised characters. These patterns were filled with the humour and stylish sensibilities of the Edokko (江戸っ子: native Edoites).
Then came the Sumptuary Laws, preventing extravagance and luxury.
The Three Great Edo Reforms—the Kyōhō Reforms (1716–1735), the Kansei Reforms (1787–1793), and the Tenpō Reforms (1841–1843)—introduced various regulations including restrictions on clothing, affecting both samurai and townspeople.
But once again, the spirit of the common people was not to be discouraged.
In response, Edo Komon evolved: Colours became muted, such as browns and greys, and patterns became so fine and delicate that they appeared plain from a distance.
As the saying “Shijūhaccha, Hyaku-nezumi” (四十八茶百鼠) suggests, Edo artisans created 48 (四十八) variations of brown (茶) and as many as 100 (百) shades of grey (鼠). The patterns themselves became ever finer and more intricate.
Paper stencils passed down within the KOMIYA family. On the right is “Takara-zukushi*” and on the left is “Shizuka Gozen**”. The number 46 carved on the edge of the stencil refers to Showa 46 (1971). Below it, the month “July (7月)” is inscribed. The mark “Yama-Ki (山キ)” represents the name of the stencil carver (型彫師 katahori-shi).
* Takara-zukushi (宝尽くし): a pattern that features a collection of auspicious or lucky treasures such as magic mallets, sacred scrolls
** Shizuka Gozen (静御前): a pattern, such as cherry blossom petals and folding fans, inspired by the Shirabyōshi (白拍子: female dancers who performed traditional dances) of the Kamakura period (1185-1333)
The Genealogy of the Edo Komon Family
When talking about the main figure of the current 4th generation, KOMIYA Yasuyoshi, we must ask what kind of status the KOMIYA family holds within the dyeing world.
Since its founding under KOMIYA Kōsuke (小宮 康助), who was recognised in 1955 as a Living National Treasure, the KOMIYA family has continued producing Edo Komon for four generations. With his son Yasutaka (康孝, recognised in 1978), his grandson Yasumasa (康正, recognised in 2018), and now his great-grandsons Yasuyoshi (康義) and Kōhei (康平), inheriting the traditional Japanese dyeing technique of katazome (型染: stencil dyeing), the KOMIYA family is the leading authority in Edo Komon production.
At the age of 13 in 1894 (Meiji 27), Kōsuke, the 1st generation, became an apprentice to ASANO Shigejūrō (浅野 茂十郎) who was known as a master of katatsuke in Asakusa. It is said that as Kōsuke was constantly busy cleaning, assisting with work, and making deliveries, etc., he could only study katatsuke late at night.
In 1907 (Meiji 40), after becoming independent, Kōsuke frequently said,
“As long as the stencils remain, someone will continue komon.”
During the war, whenever air-raid sirens sounded he fled to air-raid shelters carrying the precious paper stencils (型紙 katagami) on his back, determined to protect them.
It was also Kōsuke who brought a major transformation to the dyeing techniques of Edo Komon with the development of shigoki-zome (しごき染).
Up until that point, base dyeing had been carried out using gojiru (呉汁: squeezed soybean juice), but Kōsuke invented a technique using dye-infused paste. Spreading the dye-paste onto fabric with a spatula and rubbing it in allowed it to penetrate deeply into the fibres. This significantly improved the colour fastness of Edo Komon.
In order to distinguish it from other komon techniques, the term “Edo Komon” was coined in 1955 (Shōwa 30) when Kōsuke was recognised as a Living National Treasure. While inheriting the skills of a katatsuke craftsman, Kōsuke never stopped challenging himself. He was truly the “father of Edo Komon”.
In 1925 (Taisho 14), the 2nd generation, Yasutaka, was born. Upon graduating from elementary school, he began his apprenticeship under Kōsuke. Yasutaka, too, became completely immersed in dyeing.
Yasutaka’s favourite saying was:
“A subdued colour is different from a dull colour.”
He pursued both the beauty and durability of dyed colours and continued improving his blocking paste. He also introduced the dyes used in British gentleman’s wear into Edo Komon.
Thus, he brought “colours with light” to the KOMIYA family. Colours that did not become blurred even when layered, but instead gained greater purity.
Yasutaka followed his father Kōsuke’s wishes, and also boldly worked to improve stencil paper as well.
In the Meiji period (1868-1912), as dyeing techniques diversified, the demand for stencil paper increased. Although paper began to be produced faster and more cheaply, its quality significantly declined.
Through continued research, Yasutaka discovered that the process of making traditional washi paper made its fibres become weak. Working together with a washi paper-making atelier in Chichibu City, Saitama Prefecture, he continued to make improvements and ultimately created a high density paper that could still be used for stencil dyeing even 200 years later.
The 3rd generation, Yasumasa, began his apprenticeship under Yasutaka at the age of 16. Beyond simply inheriting the skills of Edo Komon, Yasumasa bore the responsibility of preserving stencil carvers (型彫師 katahori-shi), washi papermakers, and the tools used in the craft.
He also mastered nagaita-chūgata (長板中型), a dyeing technique featuring mid-sized patterns that had been passed down since the Edo period (1603-1867).
The culmination of his skills can be seen in double-sided dyeing. Applying this technique to almost transparent material, in recent years he has created breathtaking works.
KOMIYA Yasuyoshi is the 4th generation successor to the distinguished KOMIYA family.
1: Tanmono (反物: a bolt of kimono fabric) used for the katatsuke process is carefully stretched and affixed straight onto a board. Using two types of oak blocks, called “jibai” (地張い) and “jikosuri” (地こすり), the fabric is rubbed onto the board to ensure it is fixed properly. 2: Both edges of the tanmono are masked to prevent excess blocking paste from adhering. 3: The blocking paste used for katatsuke is prepared. Ultramarine pigment is mixed into the paste to make it more visible. Currently, in Yasuyoshi’s generation, a scale is used to precisely measure the amount of ultramarine. “In my generation, we did it by eye, but the younger generation is finding new ways to improve,” says his father, Yasumasa. 4: The Katatsuke process.
What It Means to Inherit Edo Komon
Edo Komon is now in a state that could be described as a flickering light on the verge of being extinguished.
There are almost no artisans left who are able to carve the indispensable stencil paper. The shibugami* paper needed to carve intricate patterns no longer exists.
*shibugami (渋紙): layered washi paper treated with persimmon tannin (柿渋 kakishibu), making it water-resistant and durable.
Born into the house of Edo Komon, KOMIYA Yasuyoshi is facing this crisis head-on.
“I learned from my father, starting with making shibugami. I then went to Ise City, Mie Prefecture, to study stencil carving “Ise katagami (伊勢型紙)”. I even forged the blades for engraving knives from raw metal. Even if I can’t do it perfectly myself, I do believe that by moving my hands and learning the process even once, I can help pass on the skills. Once a technique is lost, it’s gone forever. That’s why I have to learn as much as I can while the artisans are still here.”
By creating new stencil paper, he ensures the continuity of Edo Komon techniques and preserves its cultural heritage.
As he is the 4th generation heir of the KOMIYA family, this duty to sustain and protect Edo Komon could be considered KOMIYA Yasuyoshi’s noblesse oblige.
1: The spatulas used during the katatsuke process are customised to fit the user’s hand. 2: A brush is used when attaching the tanmono (a bolt of kimono fabric) to the board before proceeding to the katatsuke process. The rectangular wooden block, called “jibai”, is used to press the fabric onto the board. The square wooden block, called “jikosuri”, is used to smooth out any uneven surfaces. The “jikosuri” contains embedded weight. 3: The stencil paper is soaked in water overnight before use. After the katatsuke process is completed, the stencil is washed to remove the blocking paste. 4: Blocking paste mixed with ultramarine blue. Adjusting the consistency of the paste is also a crucial part of the process.
What It Means to Create a New Stencil
The first time Yasuyoshi designed his own stencil was in his ninth year at the KOMIYA family atelier. The design was called “hatsu-gatsuo (初鰹 : The first bonito catch of the season)”.
Based on the traditional hatsu-gatsuo stencil combined with bonito and bamboo shoots passed down within the KOMIYA family, he refined the sharpness of the fish’s body and enhanced the liveliness of the bamboo shoots.
“Using a black marker, I drew the shape of the bonito with dots, then repeatedly reduced the size by photocopying until it reached the scale of Edo Komon. Then, I handed it over to the stencil carver (katahori-shi), saying please make a stencil from this.”
From Yasuyoshi’s records, it is clear that he went back and forth numerous times with the stencil carver:
“Please make the bamboo shoot 1mm smaller.”
“Please sharpen the bonito’s head a little more.”
“Please place a right-facing bamboo shoot in this space.”
He experimented with different enlargement and reduction rates (100%, 99%, 81%) to test whether the stencil could be carved properly.
1: Sketch of “hatsu-gatsuo” (2016). The bamboo shoot was drawn using a marker pen. 2: Sample stencil created by the stencil carver. Further adjustments will be made from this point.
3: Left: the stencil passed down within the KOMIYA family. Right: Yasuyoshi’s modified version. “With the original stencil on the left, it was difficult to see the bamboo shoots, and the pattern felt too dense.” Thus, he revised and improved the appearance of the bonito and bamboo shoots.
“Whether or not the design can ultimately be fully carved down to the finest details depends on the stencil carver.”
In Edo Komon, the stencil carver and the dyeing artisan (染師 somé-shi) are inseparable—two parts of a single entity. It is not just the dyer who holds a dominant position; the thoughts and skills of the stencil carver also shape Edo Komon into its final form.
“Edo Komon is often about seeing how close we can get to making the piece look like a plain colour. But it’s not just about making the patterns finer. As we push the boundaries of technique, the patterns naturally become more intricate, but the balance is delicate. It requires a sense of spacing, an understanding of suitable distance.”
With his latest piece “Moon Shot”, the waxing and waning of the moon is represented within tiny squares. From the first quarter to the last quarter, the moon shifts within the squares, moving up, down, left, and right. This variation creates a rhythm, infusing the entire piece with a sense of dynamism.
“Stencil carvers, when they see a square, may instinctively want to centre the design within it. They aim for symmetry, balancing the width on top and bottom. But what I want to do is different.”
Yasuyoshi deliberately incorporates large empty spaces and asymmetrical gaps, which are considered weaknesses in stencil paper durability. He seeks the limit, pushing to the very edge of where the design does not collapse but seems almost on the verge of doing so.
With the utmost respect for the stencil carvers who stand alongside him in supporting Edo Komon, he continues his microscopic battle, engaging in a daily, intricate tug-of-war with his inseparable artistic partners.
1: Edo Komon kimono fabric “Moon Shot” (2024). The phases of the moon are expressed through Edo Komon designs. 2: “Moon Shot” tanmono, katatsuke processed. Next, coloured paste will be layered onto the fabric. Then after washing it off with water, the block-dyed areas will reverse, revealing the final pattern. 3: Stencil for “Moon Shot.” The transfer of space within the design is visible.
I had No Interest in Inheriting the Family Business
Born in 1983, Yasuyoshi entered the family atelier in the spring of 2008.
That same autumn, he made his debut at The Japan Traditional Art Crafts Exhibition with “Yotsumeiri Matsukawabishi (四ツ目入松皮菱)” and was immediately selected.
He flourished and his achievements continued:
2017: “Trump” – Japan Kōgei Association’s Encouragement Award
2018: “Hatsu-gatsuo (初鰹)” – Mitsukoshi Isetan Award
2021: “Zō (象: elephant)” – Mitsukoshi Isetan Award
2021: “Kawasemi (川蝉: kingfisher)” – Japan Kōgei Association’s Encouragement Award
A true thoroughbred in the Edo Komon world, one might wonder—did he ever resist inheriting the family business?
“As a child, I saw my grandfather and father working all day in a dimly lit atelier, tirelessly doing the katatsuke process. I remember thinking it looked like hard work, I wasn’t particularly interested.”
He says that he was never told to take over the business, nor did he feel obligated to do so.
However, when he found himself in his third year of retaking exams to enter art university, he asked his father for financial support. In exchange, Yasuyoshi offered to help out in the atelier for three months.
What started as a casual experience in the atelier soon took an unexpected turn:
“As I stood there working, I found that this actually suited me. Surprisingly, repeating the same task over and over didn’t bother me. In fact, I found that with a little effort each day, I was able to stencil better than I had the day before. That’s when I started to see the charm of komon.”
1: A dimly lit atelier. Why is it dark? Why is it humid? From the very first day of working in the atelier, he understood the reasons. “If you hesitate while processing katatsuke, the paste will dry too quickly. That’s why humidity is necessary. Also, to align the stencil perfectly, you only need light focused on your hands. That’s why the room itself is kept dark.” 2: The atelier is also called “Itaba (板場)”, named after the long wooden boards (板 ita) used for affixing the fabric. During the COVID-19 pandemic, the atelier was renovated, extending its total length by 60 cm. This adjustment has made the work process smoother and more efficient.
The Challenge of the Exhibition “POKÉMON X KOGEI – Playful Encounters of Pokémon and Japanese Crafts”
Kimono Cloth, Edo Komon, “Gengar and Haunter”
Gengar and Haunter emerge against a background in kikyō-iro (桔梗色: purple bellflower colour). In addition to this piece, four other works are on display at the exhibition. The exhibition will tour in 2025 as follows: April 26 – June 15 at Matsuzakaya Art Museum, June 28 – August 31 at Hachinohe Art Museum, September 12 – December 7 at Nagasaki Museum of History and Culture.
©2024 Pokémon. ©1995-2024 Nintendo/Creatures Inc. /GAME FREAKinc. @Komiya Yasuyoshi TM, ®, and character names are trademarks of Nintendo.
Kimono Cloth, Edo Komon, “Gengar and Haunter” 2022 （1300X37 silk, stencil dyeing） Private collection Photo by Taku Saiki
©2024 Pokémon. ©1995-2024 Nintendo/Creatures Inc. /GAME FREAK inc. @Komiya Yasuyoshi
“One day, I received an offer asking if I could create Edo Komon with a Pokémon theme. I immediately said yes, but then realising how big of a challenge it was going to be, I panicked and rushed to buy a “Pokémon Encyclopaedia.”
This was a request to exhibit at “POKÉMON X KOGEI – Playful Encounters of Pokémon and Japanese Crafts (ポケモン×工芸展―美とわざの大発見―)”.
KOMIYA Yasuyoshi, who had grown up with Pokémon by playing “Pokémon Red” and “Pokémon Green” video games, had to this point never considered incorporating Pokémon into Edo Komon.
“Edo Komon is constructed from a minimalistic composition of dots (grains) and lines. But depending on the Pokémon, I wasn’t sure if the design would hold up as Edo Komon when turned into a pattern. That was the hardest part to determine.”
“The first piece I created was “Gengar and Haunter”. Even when simplified into a flat design, Gengar’s distinctive features were still recognisable. I thought it had the potential to work as a pattern, so I tried designing it on the computer—and surprisingly, it looked viable.”
However, the commission required four tanmono (反物: a bolt of kimono fabric) and one full kimono, all within two years.
For anyone with even a basic understanding of textile culture, this was an unrealistic demand. But Yasuyoshi, in collaboration with his stencil carvers, had to work within the strict time constraint.
“I was deeply honoured by the offer, so I decided to give it my best shot. I experimented by turning various Pokémon characters into patterns, discarding designs that didn’t work, and searching for motifs that could truly work well with Edo Komon.”
Edo Komon has historically been a craft that pursues microscopic perfection.
“Even if just a single grain changes, the entire design can look completely different,” says Yasuyoshi. But it is precisely that one grain that he is obsessed with.
Take the face of “Gengar and Haunter” as an example. If you look closely, you will notice that its right and left eyes are slightly different sizes. This is because Gengar is subtly turned slightly to the right.
This subtle adjustment prevents the pattern from feeling too flat, adding expression and depth.
Working with Pokémon to produce a design motif inspired him to create something uniquely his own… Thus, another intense battle of precision unfolded between KOMIYA and the stencil carvers.
1: Stencil paper for Kimono Cloth, Edo Komon, “Gengar and Haunter” (2022). 2: Stencil paper for Pokémon Kimono Cloth, Edo Komon, “Flygon”. Among Edo Komon stencil papers, this one features particularly large open spaces. “I was worried that this stencil might tear, so I reinforced it myself.” 3: On every Edo Komon tanmono crafted by the KOMIYA family, the stencil carver’s name is always included. This highlights just how essential the stencil is to Edo Komon.
Seeking Motifs to Become Patterns and Discovering Colours
“You must not create patterns from other patterns.”
This famous quote by TOMIMOTO Kenkichi seems to perfectly describe KOMIYA Yasuyoshi’s ongoing challenge—the pursuit of entirely new motifs.
TOMIMOTO believed that true patterns are not created by copying or modifying existing ones but by observing nature directly, engaging with it through one’s own eyes and hands, and creating through genuine inspiration.
“When I carefully observe the things and matters around me, they start to appear as motifs. Then, I ask myself how I can turn them into Edo Komon. This process of exploring is what makes it exciting.”
1: Stencil for “Zō (象: elephant)” (2021). The pattern was created using an elephant’s trunk, ears, and footprints. “Connecting the ears and trunk, I thought it could form an interesting pattern. ”What started as a casual sketch evolved into a design—now, all patterns are created digitally on a computer screen. 2: A paper stencil of “Zō”. You can clearly see how the white spaces of the footprints contribute to the overall visual effect of the pattern.
Colour, an essential element of Edo Komon, is also something that Yasuyoshi is deeply particular about.
“I find it fascinating when a colour can’t easily be defined—when it looks like one colour but could also be another. Colours that don’t have a particular name are the most interesting.”
He reinterprets Edo Komon through the lens of the Reiwa era, elevating it both as a pattern and as a colour.
Edo Komon Kimono Fabric “Omou (思)” (2022). The pattern is created using the kanji character “思” (thought). “While designing the pattern, I stopped seeing “思” as a character. It just became a series of connected spaces.”
As the Eldest Son of the Fourth Generation of Edo Komon
This was my third visit to KOMIYA’s dyeing atelier. The atelier, built in 1953 (Showa 28), appears unchanged since my last visit 15 years ago.
Inside, it remains dimly lit even during the day, as light bulbs illuminate the artisans’ hands to prevent stencil misalignment. Humidity is kept at 90% to stop the fabric and paste from drying out.
On the earthen floor, four 7-meter-long fir wood boards rest atop platforms called “uma (馬: horses)”.
For three months, the young KOMIYA Yasuyoshi trained in this very atelier.
Did the spirit of Edo Komon—woven through his great-grandfather, grandfather, father, and countless artisans—flow into him within this “dimly lit” space?
Did he inherit the duty to protect Edo Komon, and the mission to elevate Edo culture into something new with his own hands?
In his later years, Yasuyoshi’s grandfather, KOMIYA Yasutaka, was interviewed for the magazine “Utsukushii Kimono (美しいキモノ: Beautiful Kimono)” (Spring 2011 issue):
“Having my grandson, the fourth generation after my father, train as my successor is more delightful than winning the lottery.”
“I want to explore just beyond the boundaries of what people traditionally consider Edo Komon to be. I feel that’s where the clue to the future of Edo Komon lies.”
With eyes gleaming, Yasuyoshi dreams of one day dyeing a “Gengar and Haunter” kimono and a “Galarian Stunfisk” haori coat just for himself.
“Fueki Ryūkō (不易流行)”.
This phrase was passed down among the disciples of the haikai* master MATSUO Bashō.
According to the dictionary, it means “to remain unchanged” while also “changing with time”.
During the Edo period, Bashō built a shed by the Sumida River and revolutionised the world of haiku.
Since that era, Edo Komon has continued to exist—evolving with time, yet preserving its unchanging spirit.
*Haikai (俳諧): a popular genre of Japanese linked verses with humorous words.
The hands of KOMIYA Yasuyoshi, long-fingered and bony, are designed for delicate work. These hands have mastered the spatula, carrying the light of Edo Komon into the next generation.
Profile of KOMIYA Yasuyoshi
1982 Born as the eldest son of KOMIYA Yasumasa
2001 Enrolled at Funabashi Art School
2003 Began a three-month apprenticeship under his father
2004 Enrolled in Tokyo Zokei University, majored in the Department of Painting, continued his apprenticeship during summer and spring breaks
2008 Graduated from Tokyo Zokei University
2009 First selection in the Japan Traditional Craft Exhibition with Edo Komon Kimono Fabric “Yotsumeiri Matsukawabishi (四ツ目入松皮菱)”
2011 Participated in the exhibition “Komiya-ke no waza to hito (小宮家のわざと人)” (Katsushika City Museum)
2015 Exhibited at the Silk Museum’s exhibition “Ima ni ikiru Edo Komon (今に生きる江戸小紋)”
2017 Awarded the Encouragement Award at The Japan Traditional Art Crafts Exhibition for Edo Komon Kimono Fabric “Trump”
2018 Awarded the Mitsukoshi Isetan Award at The Japan Traditional Textile Art Exhibition for Edo Komon Kimono Fabric “hatsu-gatsuo (初鰹)”
Exhibition “Komiya-ke no Edo Komon ten (小宮家の江戸小紋展)” at Nihombashi Mitsukoshi Main Store; has been exhibited annually since then
2020 Participated in the exhibition “Nihon o tsugu ten (日本を継ぐ展 −工芸作家、くらしのしつらえ−)” at the gallery in MARUZEN Nihombashi, Tokyo; has been exhibited annually since then
2021 Awarded the Mitsukoshi Isetan Award at The Japan Traditional Textile Art Exhibition for Edo Komon Kimono Fabric “Zō (象: elephant)”
Awarded the Encouragement Award at The Japan Traditional Art Crafts Exhibition for Edo Komon Kimono Fabric “Kawasemi (川蝉: kingfisher)”
2023 Exhibited at the “POKÉMON X KOGEI – Playful Encounters of Pokémon and Japanese Crafts” (National Crafts Museum)
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Photographed by MATSUTANI Reiko (升谷 玲子)
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