Talking with clients from abroad, we have noticed that the nature of their questions has shifted a little over the past year or so.
In the past, conversations usually started with the fabric itself—how many ounces, what kind of weave. Now, questions like “Where does this cotton come from?” and “How much water is used in the dyeing process?” have naturally entered the conversation.
Visitors from Europe, in particular, ask these questions very carefully. At first it caught us off guard, but now we try to prepare as much information as we can and lay it out at the beginning of each meeting.
The landscape of finishing work has been quietly changing as well.
Laser machines that recreate fading effects have become significantly more natural-looking over the last few years. The first time we saw one, the result felt a bit mechanical, almost thin. Today, you have to narrow your eyes to tell the difference.
Because the water usage is dramatically lower, we believe this direction will not reverse.
Still, if someone asked us whether we would replace everything with machines, we would hesitate. The subtle unevenness of a human hand and the unevenness produced by a machine are, somehow, different kinds of things. Finding the right balance will take time.
There is good news, too.
Inquiries for Japanese selvedge denim have clearly increased. From Europe, North America, and from other Asian countries. Smaller brands that care deeply about their products are visiting the production region in person more than ever.
A visitor from Europe recently said to us: “We can only use fabrics that come with a story.”
It is not just about the feel or strength of the fabric—the entire atmosphere behind it is what they are buying. It is a great honor, and also a reminder that we must not become lazy about telling our own story.
Circular economy is another phrase we hear often now.
Recycling worn-out denim back into yarn, and then into fabric again—it sounds simple, but in reality denim contains many materials beyond cotton (stretch yarns, sewing threads, rivet backings), and cannot simply be recycled as-is.
This is an area where the industry as a whole is still searching for answers. Rather than expecting a big solution right away, we believe it is a matter of trying small things, failing small, and gradually shaping the future.
This has turned into a rather unfocused note.
In the end, what we can do in the production region is to weave each bolt carefully, dye it carefully, and put the story behind it into words as honestly as possible. Perhaps that is all we can do.
We hope the quiet lights of Kojima, Ibara, and Fukuyama will continue to burn somewhere in the background. With these thoughts in mind, we are thinking about the next fabric today as well.