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Cloth is the one craft here where the pattern is settled before anything is made. The thread is measured, tied, dyed and counted first. The loom only lays down what the thread already knows.
Inoue Den was twelve, in Kurume, when she noticed white flecks in an old indigo garment washed pale. She pulled it apart, tied off bundles of thread before dyeing to make the flecks again, and wove them. That is kasuri: the pattern made in the thread, not printed on the cloth.
By her late thirties she had more than a thousand pupils. Kurume kasuri is still tied by hand and dipped in indigo again and again. The slight blur at the edge of each mark is how you know.
In 1241 a Hakata merchant, Mitsuda Yazaemon, came home from Song China with its weaving methods. What grew from them, Hakata-ori, is woven so firm that an obi tied from it stays put all day, and the silk squeaks as it is pulled tight. There is a word for that sound: kinunari.
Samurai wore it. Sumo wrestlers still do. The Kuroda lords sent Hakata cloth to the shogun as tribute, in a pattern of Buddhist ritual tools that is still woven today.
In Tsugaru, in the far north, farmers were not allowed to wear cotton. Their hemp let the wind through, so women stitched cotton thread into it, row after row, in patterns counted over the weave. Kogin made the cloth warmer and stronger, and it was almost the only way they had to make it beautiful.
Furoshiki began in the bathhouses, as a cloth to spread out and wrap your clothes in. The same square carries a gift today, and the knot is part of the present.

Dyed before it is woven, so the pattern has to be planned in thread.






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