niime 百科

Encyclopedia of niime

This time, I talk with the weaving team. Tamaki’s creation started when she purchased a power loom and started weaving it herself. At the weaving site, where the loom operates while producing powerful sounds while produce colorful fabrics, is the section that can be called the heart of the Lab. Nozomi Taniguchi: the leader of the weaving team, Ken Nishizaka, Nagisa Ueda, Ikuo Murakami, Sae Nakao, and Ryuta Fujimoto. I interview the staff, currently six people, and asked each of them to carefully talk about their part in creation. The first half of the interview is from Taniguchi, Nishizaka, and Ueda.


—— First of all, what made you join the company?

Taniguchi

I used to build diesel engines for ships. It took about a month to commission and assemble parts for an 10m engine and, adjuste and then ship. After that, I started looking for a fabric-related job at Hello Work employment security office, and I ran into the name tamaki niime and I wondered what kind of company it was, so I checked their website to learn more. It was a little weird (laugh).

—— You mean it’s not normal (laugh).

Taniguchi

That’s right. It says that they are always looking for interns, and it motivates people to apply at anytime. Actually, even if you look at the items sold at department stores, they are all different and very beautiful. I was intrigued by the various voices I wrote when I checked the job websites.

—— You wanted to look into it, right?

Taniguchi

Yes, I was originally interested in clothes. At first, I wanted to maintain the machine, but it was vague, so I focused on doing the “washing”first and then I was told to moved to “weaving”. The operation of the machines is now mainly centered on rapier looms. I was also taught how to maintain other machines.

—— Please tell me about your work content other than the operation of the loom and your role as a leader.

Taniguchi

With regard to the warp thread, Mr. Nakao and Mr. Ueda of our “Weave team” discuss the thickness and color of the thread, what kind of pattern and what thread to use with the boss. Then I managed its progress such as ordering the yarn based on the confirmed information and asking the sizing shop to size the warp.

—— You arrange with outside contacts. What about the weft thread which doesn’t have a sizing process?

Taniguchi

In the case of wefts, we purchase pre-dyed yarns for cotton. Since there aren’t enough variations in pre-dyed wool yarns, we dye a considerable amount in-house. Actually, Mr Nakao and Mr Ueda, who line up the colored yarns for weaving, make preparations including outsourcing.

—— As a leader, you are totally watching the progress of the “Weaving team.”

Taniguchi

Mr Murakami watches over the whole thing with me, and when it comes to outsourced planning, he is actually editing the design data such as the woven structures and the jacquard pattern. He is the help desk and really well-managed.

—— Given the current situation, what about the future of the “Weaving team”?

Taniguchi

We have more people comparing to other teams, and since the work content is diverse and we have various jobs, we would like to create a system that can engage with each other and follow each other. I want to do my best, and I also want to devote some time to intensively tinkering with the machines.

—— Why do you want to focus on maintenance?

Taniguchi

It improves work efficiency, but there are some areas where the current looms can be used in a wider range of machine performance. Yet we haven’t mastered using them yet, so I would like to expand the possibilities.

—— I see.

Taniguchi

From there, when I would like to do something new, but the current equipment is not possible, I would like to make a solid move to prepare the equipment that is needed and do it.

—— You mean you would like to attach something?

Taniguchi

It’s just that.

—— Remodeling, too?

Taniguchi

If there is something that a machine shop can’t do, we will continue to modify the original machine. Because of this Banshu-ori is evolving.

—— To further harness the potential of the loom you make use of it in creation. I understood. Finally, please tell me about future creation based on the “tamaki niime mask shop declaration” that corresponds to the novel coronvirus.

Taniguchi

At the time of the development of the “Tamask” in January, the “Sew team” used the existing fabric to make masks, but since we started accepting orders, we are currently not producing shawls. We switched to making masks. In order to concentrate on making “tamasks,” we narrow down the number of people involved in “weaving” to follow sewing, shipping, and shooting of works. The “Weave team” undertakes all the “washing” tasks that we normally do as a whole. “

—— What about the fabric for making masks?

Taniguchi

Because the size of the mask is small, we change the threads more often than a shawl in order to make a single item. Comparing to weaving ordinary fabrics and frequency, it is more than 6 times…

—— Wow.

Taniguchi

Threads need to be placed in turn for each machine and there are 5 or 6 machines running. Other than that there are some difficulties to take care of machinery, for example, cutting threads so it is always necessary for staff members to be nearby.

—— How about the future of creation?

Taniguchi

First, we make the gauze. Because of the coronal damage this time, gauzes are running out in various places, so we can deliver them to those who need them. We are at the stage of making and preparing samples now. We’re in the process of preparing threads so that we can start weaving.

—— You are also developing towel cloth.

Taniguchi

Because people are running out of daily necessities, we want to deliver towels as well. We are deciding who is in charge of the towel loom and making a concrete plan. What kind of products can we propose? I want to go all out.

—— I think that the company as a whole feels the desire to develop and deliver the things that are essential and required for daily life by responding swiftly to the situation of the damage done by the coronavirus. How about the classic works such as shawls?

Taniguchi

The Shop is currently selling masks only and the department store is closed, but the customers are still buying them at the Online Shop, so we are looking ahead so that we do not run out of the things that are required.

・・・・・・・・・


—— Mr Nishizaka came from Kiryu city, Gunma prefecture, where silk fabrics are produced.

Nishizaka

It’s been four months since I came here in January from Kiryu. I’m also in charge of the operation and some maintenance of the power looms and rapier looms.

—— What kind of work were you doing there?

Nishizaka

According to the client’s request, I made textile design and fabric structures. Since it was a division of labor, I asked outsourcers of various processes like warping. I also tried our company’s weaving machines. I shipped mass-produced rolls of clothes when there were to send. I did everything.

—— So you have experience in various operations related to textiles.

Nishizaka

In the case of Kiryu, there are many fabric shops, and through a trading company that acts as an intermediary with apparel companies, we receive a request from a company called “Motobata” where I was. And from there we outsource to subcontracted factories.

—— What made you come here?

Nishizaka

Since my family is in Kyushu, I was looking for textile work closer to Kyushu than Gunma.”

—— Yes.

Nishizaka

Well, I can only make textiles, so I searched the Internet to find out that there was something interesting other than Kiryu, and the website here was so prominent that I was surprised.

—— Hmm.

Nishizaka

Well, I gave it a shot and they told me to come in for an interview. So.

—— So that’s it. In the case of Banshu-ori, I think that it has changed a lot since Ms Tamaki came.

Nishizaka

Yeah, she is a great influence. Really.

—— It’s amazing.

Nishizaka

So even if there’s one such company, the production area itself will change a lot. Isn’t there such an example even if you look around the country? In Kiryu…or I’d like to say it from any production area, I think it’s really special.

—— How do you feel now after 4 months?

Nishizaka

There are some things that I’m not used to because they have an original methodology here. Under the situation of the Corona now, the methods of the company are changing rapidly. It’s originally a company that has a lot to do with new trials, I really feel that it’s difficult to keep up with at my age.

—— Isn’t there a part where your experience has helped you a lot?

Nishizaka

Well, I think it’s more than nothing.

—— Isn’t it strength that you are familiar with other production areas?

Nishizaka

No, I don’t think so. It would be nice if that knowledge was useful. I hope it can be utilized in the future.”

—— Then, please tell me about your future prospects.

Nishizaka

I just want to do what I can do. I have some experience with shuttle looms, so I would like to contribute more for the company in the future. If there is a situation where my experience can be utilized, I would definitely like to contribute. There is a towel weaving machine, a name weaving machine, and a warping machine that are not in operation yet, so if the work comes around, I can help.

—— Have you got used to life here?

Nishizaka

The town in Nishiwaki is compact and there are various things that can be cycled around, so that’s what helps.

・・・・・・・・・


—— Mr Ueda, you also appeared on the YouTube channel “tamaki niime’s daily life.”

Ueda

I joined the company in March 2018. It’s been two years. I am mainly in charge of the design of “weaving” and print shawl patterns. When I joined the company, I was cutting in the “Sew team.” From there, I went to “dyeing” through “washing”, and I reached the present.

—— You covered almost all departments?

Ueda

Yes, except for “knitting”. I haven’t been in the “Wa team”, either.

—— What is the content of your work in the “Weave team”?

Ueda

In addition to the operation of the loom, I arrange the colour combination of threads called “Ito narabe” for the weft threads used for the fabric. Mr Murakami and others create the pattern, so I arrange the threads while thinking about how to combine the colors and what kind of fabric or shawl to make. For warp threads, weft colors are frequently changed to create variations. For print shawls, Mr Motooka of the “Wa team” and I used to share the work 80%/20%, but nowadays I do the most.

—— You’re designing print patterns for shawls.

Ueda

That’s right. I also created design and color development.

—— Then, would you tell me the reason for joining the company?

Ueda

I’ve always liked drawing since I was little, and I used to draw artistic hand-drawn illustrations from high school to vocational school. I wanted to find a job where I can make the most of my design and illustration skills. I was searching for one but it was hard to find, and I came up with a search for words such as “creative”, “individuality” and “textile design” at Hello Work. There were also very fun words in the introduction. It says the “only one” and “one and only” that I was looking for. I had a feeling that was here! So I called and had an interview, and I had found the type of job I was looking for.

—— You didn’t even see the actual work, did you?

Ueda

I saw it on Youtube videos, but I didn’t see it directly. The moment I opened the door and saw various works lined up in the shop, it was amazing. I was really in love and I definitely wanted to be here, so I had an interview, and on that day, the president and Mr Sakai had the final interview, and I fell in love with their personality. I was also attracted to their way of thinking and the dream they have for the company, so I made a portfolio of my work and made a big appeal before joining the company.

—— You said you have never seen this type of interesting adults.

Ueda

I think school teachers talk about something realistic.

—— Like, you shouldn’t chase after all your dreams.

Ueda

Yes, I feel that there is such a trend even in other design companies. It seems that designers can finally do so after many years. But the president and Mr Sakai say that gender doesn’t matter depending on their ability. It doesn’t matter if you’re old or not, it’s ok if you have ability. There are such interesting adults here.

—— Since you joined the company, you have experienced various departments and are now in “weaving”.

Ueda

Each department is completely different, but when we look at them in total, it seems that we are doing is a consistent process. I’m in “weaving” now, I can see what happens when you wove the yarn dyed in-house. Sometimes I can see the part and I also cut denim etc., but since it can be cut like this, it seems that when the pattern here is finished, it’s probably around here. But I can see the point.

—— Yes.

Ueda

So it’s easy for me. It seems that you can understand it because you have experienced it rather than getting into weaving without knowing anything. And it is more interesting.

—— You read the next thing, and you can try “weaving” after understanding.

Ueda

I didn’t understand at all, so I asked a lot of different questions. (laugh) Like, why is this happening?

—— That’s good. Did you ask every department?

Ueda

That’s right. I think “washing” is a simple task, but even a little thing… what is it? What will this finally look like? What? When I want to know, I want to know more. (laugh)

—— You want to know more.

Ueda

If you are a creator, I think you can see various things. I think it’s bothersome. (laugh)

—— So, finally, I would like you to talk about your goals and future outlook.

Ueda

Now my goal is to be in the top 3 designers in the company. There are many ways to say design, not just the pattern of the print shawl, but also the colour scheme of the “weave”. …I want to be in the top 3 in the “design sense”. Overall, including trust and technology, which seems fine to leave it all to me. I have to brush up the parts I’m not good at, but I want to compete with art-oriented designs that I am good at. “

—— Your characteristics are important.

Ueda

I want to make everyone happy via creation. I want to make better things as a person who can creates more designs and works with woven fabrics. I want everyone in the world to understand and be pleased. That’s what I want to do through creation.

—— The works are actually exported into the world, right?

Ueda

It’s really amazing, it’s unusual. I never expected that I could be like this. I used to think that I wanted to be a designer, but at such an young age to reach my dream is a surprise. I really can’t believe it myself.

—— You have an environment like this, and you will be able to create right away.

Ueda

I’m really lucky to have been here… I want everyone to know more about tamaki niime.

—— Your eyes are watering. You want to share more about tamaki niime.

Ueda

There must be more people who are looking for this place, whether it is the creator or the customer. I want people to know more about such a good company.

(continued)

Original Japanese text by Seiji Koshikawa.
English translation by Adam & Michiko Whipple.