知念紅型研究所／知念冬馬 Toma Chinen

雑誌「美しいキモノ」に掲載いただいてます。アミフィバナ(ノアサガオ)模様の着物は着姿をこれまでなかなか紹介できなかったのでありがたい。 23人の中で金髪全然いなくて寂しかったですが、くんやの宜保さん(@bingata_kunya_gibo )のコメントがシンプルすぎてで面白かったので、紅型勢は何かしら違うようです。ぜひお買い求めください。たくさんの作家さんたちの着物帯とても綺麗でした。がんばろー I’m featured in the magazine Utsukushii Kimono. I’m especially grateful because the kimono with the Amifibana (blue morning glory) motif had not been shown in full worn form until now. Among the 23 people featured, there wasn’t a single blonde, which felt a bit lonely. But Mr. Gibo from Kun’ya’s comment was so simple that it was actually funny—so it seems that we Bingata folks are always a bit unusual. Please do check out the magazine! The kimonos and obi by many of the other artists were also incredibly beautiful. Let’s keep doing our best! #琉球紅型 #bingata #着物 #kimono #美しいキモノ

2025/08/27に公開- 指定なし

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琉球紅型や型染めの型置きで大事なのは、型台に貼っている地張剤(接着剤)の強さであったり、型台の高さ、防染糊の硬さ柔らかさだったり。さらにヘラを持つ指の位置だったり、力の入れ方だったり、ヘラの形だったり、、、動画からは伝えられない細かく隠れた部分がたくさんあります。でもそれは、職人ひとりひとりで違ってて、そのバランスを見つけた時、ひたすら楽しいと思える仕事が出来ます。この日の気持ちは、あと3時間くらい型置きしたかった。あと10本はいけた。次の日の腰は保証しないけど！ BGMはこれもナルト! What’s important in Ryukyu Bingata's stencil placement isn’t just one thing — it’s the strength of the adhesive (jibari-zai) applied to the stencil board, the height of the board, and even the hardness or softness of the resist paste. Then there are the details like where you place your fingers on the spatula, how much pressure you apply, and even the shape of the spatula itself… There are so many subtle, hidden aspects that a video alone can’t fully convey. But each artisan has their own way, and when you finally find the right balance for yourself, the work becomes nothing but enjoyable. That day, I honestly felt like I could’ve kept placing stencils for another three hours. I could’ve done ten more obi easily. (Though I can’t promise my back would’ve survived the next day!) BGM is NARUTO's ED song, too! #琉球紅型 #着物 #kimomo #知念紅型研究所 #工芸

2025/08/23に公開知念紅型研究所日本沖縄県

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まだ染め上がりが何本かあったんですけど盛り沢山すぎたのでこの数で。よく、一つ作るのにどれくらいの時間かかるんですか？と聞かれんですけど、柄によるのと並行して制作するので、あまりよくわからないんですよね〜。月に◯◯本くらいですかね〜と答えることはできますが、いつも答えに困ります笑ただ、うちみたいに職人スタッフ皆で制作する場合もあれば、完全に1人で作ってる工房さんもあって。それぞれのスタイルがあるからこそ、違いが生まれて、良さが増えていくんだと思います。たくさん色柄を選んで見て欲しくて作ってます。そして、この動画は間違いなくそのおかげで成り立ってます() There were actually a few more finished pieces, but it was already way too much to show. People often ask me, “How long does it take to make one piece?” but honestly, it depends on the design, and since I usually work on several pieces in parallel, I can’t really give a clear answer. I usually just say something like, “Around ◯◯ pieces a month,” but I’m always at a loss for words. That said, some workshops, like ours, create pieces together as a team, while others are run by just one person who makes everything on their own. Each workshop has its own style, and I think that’s exactly what creates variety and adds richness to the craft. As for me, I make my pieces because I want people to see and enjoy lots of different colors and patterns. And this video definitely exists thanks to that mindset. lol #琉球紅型 #着物 #kimono #知念紅型研究所 #bingata

2025/08/20に公開知念紅型研究所日本沖縄県

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朧型はめちゃくちゃ楽しいです。大好きな技法。いつも背景の柄何にしようかと悩みまくりです。今回は表はブーゲンビリア、背景はイジュの花(沖縄に咲くツバキ科の植物)が咲く町の風景を描いた柄にしました。でもね、本当は背景は幾何学模様とか蜀江模様がすごくハマる感じがしてるんです。鎌倉芳太郎という昔の染色家の朧型が技術を極めているので、彼の作品をたくさん見て勉強しています。古典柄を元に作ってる方ですが、その柄の組み合わせ方や色の使い方がこんなに綺麗になるの？ってくらい、調べるたびに毎回新しい発見があります。来週まで、帯もしばらく朧型が続くので、色々試してみたいと思います。 Oborogata is incredibly fun. It’s my favorite technique. I’m always agonizing over what background pattern to choose. This time, for the front I chose bougainvillea, and for the background, a scene of a town with blooming ijū flowers, which belong to the camellia family. But honestly, I feel that geometric patterns or Shokko patterns are an amazing fit for the background. The works of Kamakura Yoshitarō, a dyeing artist from the past, have mastered the Oborogata technique, so I study his pieces a lot. He works based on classical patterns, but every time I research his designs, I discover something new— the way he combines patterns and uses colors is so beautiful it makes me wonder, “How can it turn out this well?” Until next week, I’ll be working on Oborogata for obi as well, so I’m looking forward to trying out many different ideas. #琉球紅型 #着物 #kimono #bingata

2025/08/14に公開知念紅型研究所日本沖縄県

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生地は丸正織物さん(@marumasa.fab )の壁上布。もう何年も丸正さんに織ってもらっています。顔料の乗りや発色、完成した時の力強さがいつも想像以上なのです。ご注文ありがとうございます。今仕立てに出しておりますのでもうしばらくお待ちください！ The fabric is “Kabejo-fu” woven by Marumasa Orimono.(@marumasa.fab ) We’ve been working with Marumasa-san for many years now. The way the pigments take to the fabric, the vibrancy of the colors, and the strength of the finished piece always exceed our expectations. Thank you very much for your order. The piece is currently being tailored, so please wait just a little longer! #知念紅型研究所 #琉球紅型 #着物 #kimono

2025/07/19に公開知念紅型研究所日本沖縄県

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The Process of Ryukyu Bingata この映像の技だけではないんです。あくまでほんの一部で、型紙の数が増えたり、型置きの工程が増えたり、道具を一から作ったり、筆の毛先の柔らかさを調整したり、すでにある型紙を彫りなおしたり。帯と着物と沖縄の踊り衣装では、注意を払う部分が違ったり。数え切れないほどの仕事がある中で、基本的な流れを動画にしました。過去のリールでもその普段見えない部分の仕事を紹介しているものがあるのでぜひご覧ください。なんなら、この動画撮影編集もなかなか・・・() This video shows just one part of the process—there’s so much more behind it. There can be more stencils, more steps in the stencil printing, or even tools that we make entirely by hand. We adjust the softness of the brush tips, re-carve old stencil patterns, and tailor our techniques depending on whether it’s for a kimono, an obi, or traditional Okinawan dance costumes. There are countless tasks involved, but this video focuses on the basic flow. Some of our past Reels show those hidden parts of the work, so please check them out too. And to be honest… filming and editing this video was no small task either! lol #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/07/16に公開知念紅型研究所日本沖縄県

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琉球紅型「蒸しと水元」 Ryukyu Bingata "Steaming & Washing" 蒸しの蒸気とか温度、蒸し時間てとても大事で。生地によっても蒸し時間変えなきゃいけないし、気を抜いてたら、数日後の蒸気量おかしいことなってるしで。蒸しに至るまでの染めの工程がすっごく綺麗にできても、蒸しでムラになったり、何か変な事が生地に起こったりすることもあります。ある意味、蒸してる最中は手出しができないので、準備や管理、生地への理解の経験値が必要です。難しい〜〜〜！！ The steam, temperature, and steaming time are all incredibly important. Depending on the fabric being dyed, I have to adjust the steaming time. If I let my guard down, the amount of steam can suddenly change a few days later—too much or too little—and things go wrong. Even if the dyeing process before steaming went beautifully, sometimes the fabric ends up blotchy or something strange happens to it during steaming. In a way, once the fabric is inside the steamer, I can’t touch it anymore— so proper preparation, management, and deep understanding of the fabric are all essential. It’s so tricky—seriously!! #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/06/30に公開知念紅型研究所日本沖縄県

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琉球紅型「隈取りの工程」 Ryukyu Bingata "Kumadori" 他の仕事も多くて、思ったより時間かかりました。やっと次の工程に進めます。この隈取りは完成を想像した時に、この流れでアクセント欲しいな、あの部分に重みが欲しいなと、最初の予定よりも着物の完成図が見えてくるので、着物自身と相談します。新柄は特に。 I had so many other tasks, and it took more time than I expected. Finally, I can move on to the next step. When I do the kumadori (shading), I imagine the finished piece and think things like, “I want a bit of accent here,” or “I want more weight in that part.” As I work, the overall image of the kimono becomes clearer than what I initially planned—so in a way, I’m having a conversation with the Bingata itself. Especially when it’s a new design. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/06/28に公開知念紅型研究所日本沖縄県

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琉球紅型着物「ストレチアとふくら雀」 Ryukyu Bingata Kimono "Strelitzia & Sparrow" 丸正織物さん(@marumasa.fab )の生成りの壁上布にストレチアの柄を染めました。仕立て上がると左身頃が紫系、右身頃が青系の配色になっています。紅型では風変わり。とても透け感があって涼しげな生地なので、さらりと着れる色使いにしてみました。仕立て上がりと着姿柄楽しみな作品になりました。 We dyed a Strelitzia (bird of paradise) pattern onto fabric from Marumasa Orimono (@marumasa.fab), known for their kabejo-fu (a finely woven textile). Once tailored into a kimono, the left front panel features a purple-toned palette, while the right front panel has shades of blue—an unusual color arrangement for Bingata. The fabric is light and sheer, with a cool, airy feel, so we chose colors that create a breezy impression. It’s a piece we’re very excited about, both in its finished form and how it will look when worn. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/06/24に公開知念紅型研究所日本沖縄県

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琉球紅型着物「色差しの工程」 Ryukyu Bingata Kimono "Irosashi (Coloring)" 顔料を使って染めます。生地に擦り込むという感覚で染めていくので、筆を2本使ってムラにならないようひたすらスリスリと。柄が全部繋がる模様なので、色の段を間違えないよう確認しながら染めています。間違えちゃうと仕立てた時に柄が合わなくなる・・。怖 I dye the fabric using pigments. Since the technique involves rubbing the color into the fabric, I use two brushes to keep the color even. The pattern is designed to align perfectly when the kimono is tailored, so I carefully check each color step to make sure I don’t make a mistake. If I do, the patterns won’t match after it’s sewn… #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/06/15に公開知念紅型研究所日本沖縄県

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Ryukyu Bingata Kimono– The “Stencil Placement” Process 琉球紅型着物「型置きの工程」この作業中聴いているのは音楽ではなく、アニメや映画です。色差し頑張りまっす。 I’m beginning the stencil placement for the new pattern I recently created. The stencil is designed so that the patterns align seamlessly vertically, so I carefully apply the resist paste to avoid any misalignment. This time, the piece features an “eba-gara” pattern—where the design flows continuously across all parts of the kimono, including the sides, sleeves, back, and front panels. That’s why I measure the placement positions and dimensions precisely in advance, making sure not to misplace anything. To be honest, this preparation phase is often more nerve-wracking for me than placing the stencil itself. The partially blank area in the center is for the kake-eri (over collar) and hon-eri (main collar). I placed and dried the okumi (front inset panels) first. From the front, the layout goes as follows: •Left back sleeve, left front sleeve •Left back body, left front body (upper front panel) •Kake-eri and hon-eri (collars), upper okumi, lower okumi •Right front body (lower front panel), right back body •Right front sleeve, right back sleeve If I take too long, the resist paste on the stencil surface starts to dry, and I end up having to wash the stencil over and over again— so I work quickly, precisely, and carefully. That said, since this is a new pattern, I had to get a feel for how much pressure to apply when spreading the paste, how many times I could go over the same area, and adjust as I went along. Depending on the stencil and the design, I also vary the consistency of the paste and the amount I apply. Next up is the color application process. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/06/09に公開知念紅型研究所日本沖縄県

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Ryukyu Bingata "Katagami / Mesh Backing" 琉球紅型「型紙／紗張」なんとか完成しました〜！よし！染めるぞ！ After finishing the stencil carving, I will proceed with applying the silk mesh (called sha). This process involves attaching a special fabric to the stencil paper and is essential for reinforcing the stencil so that it can be used repeatedly. Once the first stage of mesh application is complete, I move on to the removal of the connecting bridges (called tsuri). During the carving process, the interior parts of the pattern are intentionally left connected with thin bridges to prevent the design from falling apart. After the mesh is applied, however, these connections are no longer necessary because the mesh itself supports the pattern. By carefully removing these tsuri, the stencil’s appearance and precision improve significantly, allowing for clearer and more accurate dyeing during the paste-resist (norioki) process. Finally, I apply a second coating of mesh—this time with a layer of protective coating (such as lacquer or cashew resin)—and place a glass plate or other weight on top to keep the stencil flat while it dries thoroughly. Once dry, the stencil is complete and ready for use. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/06/05に公開知念紅型研究所日本沖縄県

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琉球紅型「地染め」 Ryukyu Bingata "Background dyeing" 夜、ただひたすらに帯の地色を染めていきます。地染めは防染されたところ以外の無地場を染めていく工程です。良い色〜。ノンストップでやったので達成感。 Ground dyeing is the process of applying the background color to the entire fabric, except for the areas protected by the resist paste. I worked on it non-stop, so I feel a real sense of accomplishment. Such a beautiful color! #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/06/03に公開知念紅型研究所日本沖縄県

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琉球紅型「型彫り」 Ryukyu Bingata "Kata-hori (Stencil carving)" 犬も作ろう。 I’m making a stencil for Bingata. The paper used is a special type made specifically for this purpose, and the carving technique is called tsukibori (pushing cut). Holding the blade in reverse, I carve from front to back. The red lines are called tsuri, which are connecting lines to prevent the design from falling apart. This will eventually become a pattern for an obi. It’s still in progress. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/05/08に公開- 指定なし

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琉球紅型「型台掃除」 Ryukyu Bingata "Cleaning Worktable" そうか、今日腕が少し重いのは多分これのせいだ。 I clean the stencil table that I use every day. On the surface of the table, substances like “jibari liquid” (a special adhesive similar to glue) and resist paste tend to accumulate. By applying jibari liquid to the surface, the fabric adheres to the table, making the stencil application process smoother. However, over time, the adhesive strength weakens due to the drying of the paste and the buildup of dust. Therefore, I regularly clean the table and reapply the jibari liquid. I thoroughly clean the 14-meter-long table, removing dust and any excess paste. Then, I apply a diluted solution of jibari liquid to the surface. Once it dries, I can start the stencil application process again. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/04/28に公開- 指定なし

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Ryukyu Bingata／琉球紅型生地や糸によって、顔料と染料の染まり方の違いがわかります。紅型の色ってこうやって染まってます。 You can see how pigments and dyes take differently depending on the fabric and threads. This is how the colors of Bingata are dyed. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/04/19に公開知念紅型研究所日本沖縄県

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音あり推奨/ sound on Ryukyu Bingata "Viewing the background dyeing from the reverse side" #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/04/15に公開知念紅型研究所日本沖縄県

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琉球紅型/ Ryukyu Bingata 一つ一つ手で染めて、たくさんの作品を作ってます。沖縄唯一の染めの工芸。 Each piece is hand-dyed, and we create many works of art. This is Okinawa’s only traditional dyeing craft. That is Ryukyu Bingata. “Ryukyu” is the old name for Okinawa. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/04/08に公開知念紅型研究所日本沖縄県

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琉球紅型の工程 The Process of Ryukyu Bingata ・Stencil Carving (Katahori) Patterns are drawn on special paper and carefully carved with a small knife. This creates the stencil that forms the design’s foundation. A technique called tsukibori is used — the blade is pushed forward rather than pulled. ⸻ ・Resist Paste (Nori) The resist paste is made by mixing glutinous rice, rice bran, and glycerin. ⸻ ・Stencil Application (Kataoki) The pattern is applied to fabric using the stencil and resist paste. Each placement is done carefully to avoid misalignment. The paste’s consistency and working speed are key — moving too slowly can clog the silk screen. ⸻ ・Color Application (Irosashi) Pigments are mixed with strained soybean liquid (gojiru) to make colors. Each color is rubbed into the fabric by hand. Pigment and gojiru concentration is adjusted based on the fabric to fix the color well. ⸻ ・Shading (Kumadori) Darker tones are added on top of the colored areas with soft gradation. This adds depth and softness, such as in flower shapes or bird feathers. ⸻ ・Resist Overpainting (Nori-fuse) After steaming and washing off the first paste, new paste is applied to protect the dyed patterns. This masks them before background dyeing. Clean lines are drawn using a cone tool with careful control. ⸻ ・Background Dyeing (Jizome) Dye is brushed on evenly to color the background without blotches. The masked patterns remain undyed. Dye and seaweed glue (funori) concentration are carefully adjusted. ⸻ ・Steaming (Mushi) The fabric is stretched on a frame and steamed at 100°C for about an hour. This sets the colors, prevents rubbing off, and enhances brightness. ⸻ ・Washing (Mizumoto) The steamed fabric is washed to remove paste and residue. This completes the process. ⸻ #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/04/04に公開知念紅型研究所日本沖縄県

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琉球紅型「地染めの工程」 Ryukyu Bingata "The Process of Background Dyeing" 超倍速でお送りいたします。 Background dyeing is the process of dyeing the plain areas of an obi or kimono. In Ryukyu Bingata, patterns are dyed with pigments, while the background color is dyed using dyes. These dyes are mixed with viscous liquids such as funori (seaweed glue) and reverin, which help prevent bleeding. Thanks to the funori, the dye gradually permeates the fabric, allowing the artisan to spread the liquid with a brush before it fully soaks in. This ensures an even application without blotches. However, if the process is not carried out swiftly, uneven dyeing can still occur. #琉球紅型 #びんがた #紅型 #着物 #kimono #沖縄 #okinawa #bingata #伝統工芸 #和装 #和服 #知念紅型研究所 #textile #民藝 #工芸

2025/03/27に公開- 指定なし

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