Tradition Sewn into Every Stitch―The Challenge of Sisters Inheriting Edo Embroidery: Takahashi Shishuten

Inheriting Edo Embroidery Nurtured by Samurai & the Common People

―Please tell us about the history of Edo Embroidery.

Saito: Edo Embroidery originated in the Asuka period, arriving in Japan alongside Buddhist teachings and introducing embroidered Buddhist statues. People began decorating kimono and obi with embroidery. There are three major embroidery traditions—Kyoto, Kaga, and Edo. What sets Edo Embroidery apart is its dynamic, sharp color schemes preferred by samurai. The work uses silk threads, stitched onto silk or hemp fabrics.

The affluent embroidery styles were adored by samurai families and princesses, but after sumptuary laws were issued in the Edo period, it became popular among the common folk to adorn parts of their Yuzen kimono with embroidery, thus developing new decorative techniques.

Endo: Motifs have changed with the times, but the fundamental stitches and threads remain virtually unchanged. It's truly a handcraft passed down for hundreds of years.

―What led you, as sisters, to inherit the family business?

Saito: Takahashi Shishuten was founded by our father in 1968. Our mother became the second-generation head, and we are the third. When our father became ill, we both decided to dedicate ourselves to the craft and carry on the business together.

Endo: Generally, the one more skilled in design leads the conceptual work, while the other focuses on perfecting technical details. Handling communication and social media is also split between us. Rather than sticking to rigid roles, we flexibly cover for each other based on what's needed at the time.

―Is there anything you're glad about since becoming third-generation co-owners?

Saito: Working as sisters, there's an unspoken understanding and a natural alignment in pace and sensibility—this is our strength. Our relationship allows us to support one another intuitively, fostering an environment where we feel secure continuing this work long-term. Being able to share the vision of "passing Edo Embroidery to the next generation" is something unique to family businesses.

Endo: Of course, we sometimes have differing opinions, but with a shared commitment to creating quality work, we always talk things through until we're both satisfied. Those moments of disagreement can actually spark new ideas, keeping us inspired and motivated.

The Artisan's Sense: Expressing Shadows & Dimensionality on a Flat Surface

―What kind of techniques are used to create beautifully finished patterns?

Saito: Using Shibukata-gami (traditional paper stencils), we apply Gofun (powdered pigment) to trace the outlines, and then begin the embroidery process. Instead of sketching directly onto the fabric with a chalk pen like in Western dressmaking, we use Gofun—applied by lightly dusting—so that the design can be beautifully refined at the finish.

Endo: The technique of "Ito-yori," where we unravel threads made of twelve strands of Kama-ito and mix colors together, lets us create a soft and delicate gradation by using threads that change color ever so slightly along their length.

There's also "Kiri-osae," where threads are stitched diagonally to prevent the embroidery patterns from floating above the fabric. This approach increases durability and prevents the designs from wearing away. We can also transform the patterns through thread color and stitching techniques.

Edo Embroidery can dramatically change its luster and finish—sometimes resulting in an entirely different effect—depending on the thread color, thickness, and how they're sewn. By skillfully using these methods, we carefully bring each design to life one stitch at a time.

―So, advanced skill and experience are essential.

Endo: What's difficult is meeting the customer's expectations for specific colors and details. Since kimono tailoring often involves a division of labor—a kimono shop takes the order, a dyer colors the fabric, and then the embroiderer does the stitching—we don't get to hear the customer's preferences directly. We have to anticipate their wishes from the order and live up to their trust, like "This embroiderer always captures the color I want."

Saito: Compared to Western clothing, a kimono can appear too flashy if over-embroidered. It's not about adding as much embroidery as possible. Instead, by showing restraint, shadows and a sense of dimensionality are emphasized. If we showcase our own preferences too strongly, it might stray from the customer's taste. This is where the artisan's sense and instinct come into play—a complexity and thrill unique to handmade craftsmanship, which machines can't replicate.

―While there are many types of Edo Embroidery, including sumo ceremonial aprons and kabuki costumes, what are the particular strengths of Takahashi Shishuten?

Endo: In Japan, there is a tradition of attaching family crests to the back of formal kimono for occasions like weddings and funerals. At Takahashi Shishuten, we particularly specialize in "Nuimon"—embroidered crests.

Saito: For customers who own several kimono, we can arrange the crest with different thread colors and stitching techniques. It's quite stylish. We're always happy to propose ideas that suit the occasion, season, formality, and fabric of each kimono.

Passing Down the Brilliance of Japanese Handcraft to the Next Generation

―We heard that "komamon," developed as part of the collaboration with designers in the "Tokyo Teshigoto Project," which utilized Nuimon embroidery techniques, is particularly popular among younger people.

Endo: "komamon" is a ring that combines natural wood and Edo Embroidery. We used traditional techniques such as Bokashi-nui (subtle gradation of color with thread), Suga-nui (overstitching across the texture of the fabric), and Sagara-nui (expressing designs using round knots), and adorned each piece with auspicious motifs like plovers, plum blossoms, and Tachibana oranges.

It's available in two color schemes—yellow-base and blue-base—so you can choose according to your skin tone. The emblems are interchangeable via magnets, so you can pick your favorite motif to match your outfit.

Saito: The idea for this project came from participating in "Japan Expo," an event in France introducing Japanese culture. People overseas were completely fascinated by family crests—studying the crest catalog, they marveled, "Japan has so many different crests!"

I hope this product helps not only people overseas but also younger generations in Japan, who don't often wear kimono, to rediscover the charm of Edo Embroidery and family crests.

―You have been developing new products such as brooches, cufflinks, and licensed products for the Osaka/Kansai Expo, but what is important to you?

Saito: It's about conveying the excellence of authentic handcraft. Recently, machine embroidery has become more common, and it's less expensive that way. But handmade work has a unique charm and quality you can't get otherwise. We aim to develop products that bring out the appeal of handwork while making the most of traditional techniques.

Endo: Another thing I felt at Japan Expo was that even people overseas can appreciate genuine quality. At another booth, they were selling polyester printed Haori, but when we displayed a Haori made of silk fabric with silk embroidery at our booth, people who tried it on said, "The real thing is different!"

Natural silk is comfortable to wear and gentle on the body. Plus, with practices like "Arai-hari," where kimono can be taken apart and remade, kimono have been used sustainably since the Edo period. I want to widely share the exceptional charm of kimono with others.

―What challenges are you facing right now, and what do you want to work on in the future?

Saito: The challenge is the aging of our artisans, as there are hardly any successors. Many people take up embroidery as a hobby in classes, but few choose to become professional craftspersons. Without younger people coming in, I'm worried these techniques might fade away.

Endo: That's why we're developing small accessories as a way for younger generations and people overseas to discover Edo Embroidery. Hopefully, that will be the gateway for them to appreciate the wonders of kimono as well. Fewer people wear kimono nowadays, but as Edo Embroidery artisans, it's essential to hone our skills on kimono.

Saito: As the next step, I want to hold workshops on Edo Embroidery. The Tokyo Shishu Kyodo Kumiai (東京刺繍協同組合) is also planning a fall exhibition of Obi embroidery. We hope to share the beauty of authentic handwork with more people.

Mami Endo (left), Yuko Saito (right).

Mami Endo
Born in 1973. Third generation at Takahashi Shishuten. She began studying under her father, Yoshinobu Takahashi, while working at a company. Joined Takahashi Shishuten in 2003, later apprenticing under her mother, Michiyo Takahashi. Awarded Special Prize at the 47th Japan's Traditional Craft Competition "Minna de Soroi" (2022).

Yuko Saito
Born in 1969. Third generation at Takahashi Shishuten. Studied under her father, Yoshinobu Takahashi. Joined the family business in 2004, then trained under her mother, Michiyo Takahashi. Selected for the 45th Japan's Traditional Craft Competition "My Favorite Fragrances" (2020) and the 46th Japan Dyeing and Weaving Designers' Exhibition with her Nagoya Obi "Omokage" (2023).