This audio is generated by AI, so pronunciation and expressions may not be fully accurate. The narration is only in English.
Fujiya was founded in Asakusa in 1946 by Kawakami Keiji, who was drawn to the culture of tenugui. The business was later passed on to his son, Chihiro, and today it is run by third-generation owner Kawakami Masahiro, who works alongside his father to create new designs.
"I've lived in Asakusa all my life. Growing up on the second floor of the shop, it felt completely normal to have a tenugui shop in the neighborhood—just like a fishmonger or a greengrocer. In my elementary school graduation essay, I even wrote that I wanted to run a tenugui shop one day. My grandfather and father never once told me I had to take over," says Kawakami.
Kawakami decided to take over Fujiya in his third year at university. Alongside his studies, he was also attending a design school. Around that time, plans emerged for a three-person exhibition of tenugui by Kawakami, his father, and his grandfather—his first opportunity to create designs of his own. Before the show opened, however, his grandfather Keiji passed away, and the exhibition went ahead without him.
"That three-person exhibition was the first time I ever made my own designs. Seeing how customers reacted really made me feel that this was something I wanted to commit to," says Kawakami.
Kawakami's first design featured a snowman. Against a vivid red background that evokes Christmas, the white snow and snowman stand out in bold contrast.
Fujiya's tenugui are produced using Chuzen Zome, with each piece carefully made by hand by skilled artisans. Unlike printed fabrics, the dye penetrates to the core of each fiber, allowing the design to appear seamlessly on both sides of the cloth.
Around 120 varieties of tenugui fill the shelves at Fujiya. Designs shift with the seasons—bright, breezy motifs such as cherry blossoms and wildflowers in spring and summer, and maple leaves or snowy landscapes in autumn and winter. Including stencils preserved from past dyeing processes, the shop's collection now spans hundreds of original designs.
Designs at Fujiya range from classic komon patterns and traditional Japanese motifs to revivals of Edo-period (1603-1868) imagery, kabuki-inspired illustrations, and contemporary subjects such as Tokyo Skytree. The shop also upholds long-standing traditions, producing annual eto (Chinese zodiac) tenugui and bespoke, made-to-order pieces known as o-atsurae, a practice carried on since its founding.
Fujiya's shop, located between Sensoji Temple and Kaminarimon in Asakusa.
Tenugui displayed in custom frames line the walls.
The Kyoden Tenugui (center), a popular design that appeared in the historical drama Unbound.
Kagamijishi (center), a signature lion-dance work in the kabuki repertoire.
During the interview, many visitors from overseas stepped inside, pausing to take in the colorful tenugui on display.
Mekujira by Santo Kyoden, featuring a playful whale motif with a sideways eye.
The shop's noren curtains use a playful touch with Japanese characters to suggest itoshii (beloved), forming the name Itoshi Fuji.
One of Fujiya's most popular series features revived designs from tenugui awase, a hand towel exhibition said to have been organized in 1784 by the writer artist Santo Kyoden. The exhibition brought together works by well known painters and actors, as well as geisha and townspeople. A catalogue of the original designs still survives, and the series began when Fujiya's founder, Kawakami Keiji, reproduced the patterns based on this record.
The designs of the period give a glimpse into the refined culture of Edo—present-day Tokyo—shaped by both intellect and humor.
Kawakami explains that one design, said to have been drawn by Santo Kyoden, depicts a temple bell known as Dojoji Koshi. At the time, the bell motif was displayed hanging from a cherry tree. The image recalls a memorable scene from the kabuki play Musume Dojoji, in which both cherry blossoms and a bell appear.
The people of Edo likely took pleasure in expressions that hinted rather than explained, finding wit in subtle twists. The spirit of tenugui awase—a culture of enjoying a wide range of artistic expression beyond social boundaries—has been passed down to today's richly diverse Tokyo.
Tenugui can be used in many different ways. Beyond wiping or wrapping items in place of a handkerchief or towel, Kawakami notes that when they were exhibited and sold overseas, some visitors even wore them around their necks like scarves.
"I always tell customers to start by finding a design they love. With use, a tenugui becomes softer, and its colors take on more depth over time," says Kawakami.
Much like leather goods or denim that grow better with age, using a favorite tenugui over time turns it into a piece uniquely your own, imbued with personal attachment.
At Fujiya, customers are also encouraged to frame and display tenugui as art.
Kawakami explains that displaying tenugui as decorative items was common during the Edo period, but that in later eras—such as Taisho (1912-1926) and Showa (1926-1989)—they came to be used mainly in more practical ways, much like ordinary towels. He adds that they hope to help revive the tradition of displaying tenugui once again.
Kawakami Chihiro, the previous head of the shop, devised a dedicated frame to make tenugui easier to display. Making use of the cloth's absorbency and quick-drying qualities, the frame allows a tenugui to be mounted cleanly with just water and replaced with ease.
A favorite piece can be carried and used every day or displayed as art. Kawakami says he hopes people will enjoy tenugui with a free and open approach.
For Kawakami, who grew up in Asakusa, what makes the neighborhood special is its people.
Local shop owners and neighbors have been familiar faces since childhood, and he says those bonds grew even stronger during the COVID-19 pandemic.
"There was a time when people vanished from Asakusa—it felt as if only pigeons were left wandering the streets. Quite a few shop owners even began talking about closing their doors. That was when those of us in the younger generation felt we had to step up," Kawakami recalls.
Together with others of his generation, Kawakami researched COVID-19 safety measures and relief programs, sharing that information with older business owners in the neighborhood. The ties he had felt with the local community since childhood grew even stronger as younger residents took the lead and came together during the crisis.
That experience prompted Kawakami to join the Asakusa Tourism Federation, and he says his role in the community has since expanded as he has become even more actively involved.
Asakusa draws large numbers of visitors from both Japan and overseas. According to a survey by Taito City, the district saw around 41 million visitors in fiscal 2024, including 6.4 million international tourists. At Fujiya, visitors from abroad make up roughly 70 percent of all customers.
Kawakami adds that anyone who wants to visit Asakusa is welcome. He explains that the neighborhood has long embraced new ideas, and that its real strength lies in its openness—its ability to welcome all kinds of people without fear of change.
For centuries, Asakusa has flourished at the forefront of culture and commerce. The spirit of its people—rooted in tradition yet eager to embrace change—has been carried forward into the present day, contributing not only to Asakusa's character but also to the energy and warmth of Tokyo as a whole.
Fujiya will mark its 80th anniversary in 2026. "We want to remain Fujiya—unchanged in the best possible way—right here," Kawakami says.
As times change, some techniques and processes are gradually being lost as traditional materials become harder to obtain. Passing down skills amid an aging workforce and ongoing labor shortages will also be a growing challenge. In many ways, continuing what has long been carried on may be far more difficult than starting something new.
"Just as we enjoy designs from the past today, I want to create as many designs as I can that future generations can enjoy," Kawakami says.
He adds that he wants to keep creating designs that feel accessible to people who may not be familiar with tenugui—young customers and visitors from overseas—as well as designs that convey the beauty of Japan. Looking ahead to the shop's 100th anniversary, he notes that they are also developing new projects inspired by a modern take on tenugui awase.
Rooted in Asakusa, a neighborhood known for its warmth and human touch, Fujiya has carried on the culture of tenugui for three generations. The designs Kawakami creates one by one carry forward the spirit of iki—a refined sensibility passed down through the years—while reflecting the openness and multifaceted appeal that define Tokyo as a city.
