国内生産にこだわり一つ一つ手作業で丁寧に草木染めを施した両紐形コットン巾着。 古くから使われてきた巾着袋のイメージを現代の形に落とし込んだアイテムです。 表地と裏地２種類の生地を使用し染色による色の濃淡をあえて表現しており、紐は江戸時代から使用されている江戸打ち紐を使用し巾着とは異なった染料で染色しています。 草木染め独特の風合いと色落ちによる経年変化も魅力のアイテムです。 This double-stringed cotton kinchaku (purse) is carefully hand-dyed one by one with a focus on domestic production. This item is a modern take on the image of the drawstring pouch that has been used since ancient times. The outer and inner lining are made of two different kinds of fabrics to express the shades of colors caused by dyeing, and the strings are dyed with different dyes from those used for the kinchaku, using the Edo-style cord used since the Edo period. The unique texture of the grass and tree dyeing and the color change over time due to fading are also attractive features of this item.

国内生産にこだわり一つ一つ手作業で丁寧に草木染めを施した両紐形コットン巾着。 古くから使われてきた巾着袋のイメージを現代の形に落とし込んだアイテムです。 表地と裏地２種類の生地を使用し染色による色の濃淡をあえて表現しており、紐は江戸時代から使用されている江戸打ち紐を使用し巾着とは異なった染料で染色しています。 草木染め独特の風合いと色落ちによる経年変化も魅力のアイテムです。 This double-stringed cotton kinchaku (purse) is carefully hand-dyed one by one with a focus on domestic production. This item is a modern take on the image of the drawstring pouch that has been used since ancient times. The outer and inner lining are made of two different kinds of fabrics to express the shades of colors caused by dyeing, and the strings are dyed with different dyes from those used for the kinchaku, using the Edo-style cord used since the Edo period. The unique texture of the grass and tree dyeing and the color change over time due to fading are also attractive features of this item.

国内生産にこだわり一つ一つ手作業で丁寧に草木染めを施した両紐形コットン巾着。 古くから使われてきた巾着袋のイメージを現代の形に落とし込んだアイテムです。 表地と裏地２種類の生地を使用し染色による色の濃淡をあえて表現しており、紐は江戸時代から使用されている江戸打ち紐を使用し巾着とは異なった染料で染色しています。 草木染め独特の風合いと色落ちによる経年変化も魅力のアイテムです。 This double-stringed cotton kinchaku (purse) is carefully hand-dyed one by one with a focus on domestic production. This item is a modern take on the image of the drawstring pouch that has been used since ancient times. The outer and inner lining are made of two different kinds of fabrics to express the shades of colors caused by dyeing, and the strings are dyed with different dyes from those used for the kinchaku, using the Edo-style cord used since the Edo period. The unique texture of the grass and tree dyeing and the color change over time due to fading are also attractive features of this item.

草木染めで染色した絹糸を一本一本丁寧に貼り付け、絹糸だけでなく糸を張っている杉板まで草木染で染め上げたインテリアアート。自然の色は化学染料に比べて退色、変化が早い事が問題視されますが、この作品では作品保護に抗UVアクリル板を使用し、室内に入る紫外線の98%以上をカットすることで最大限元の姿を長く楽しめるようになっています。 自然の景色が美しさを手放す事を恐れず、姿を変えていく様に人は感動します。その美しさと移り変わりの美学を自然の色と素材で表現し、投資としての価値ではなく鑑賞者と共に正しく歳を取ることに価値を見出したインテリアアートです。 額には部屋に馴染むコーティング無しの檜を小田原の木工職人に形にしてもらい、額も作品とともに年齢を重ねる作品の一部となっています。 This is an interior artwork in which silk threads dyed with herbaceous dyes are pasted one by one, and not only the silk threads but also the cedar board on which the threads are stretched are dyed with herbaceous dyes.Although natural colors fade and change more quickly than chemical dyes, this work uses anti-UV acrylic panels to protect the work, blocking more than 98% of the ultraviolet rays that enter the room, so that the original appearance can be enjoyed for as long as possible. People are moved by the way natural scenery changes its appearance without fear of losing its beauty.This interior artwork expresses this beauty and the aesthetics of change with natural colors and materials, and is not an investment, but rather a piece of art that will age well with its viewers. The frame is made of uncoated Japanese cypress that blends well with the room and is shaped by Odawara wood craftsmen, making the frame part of the work that ages along with the artwork.

草木染めで染色した絹糸を一本一本丁寧に貼り付け、絹糸だけでなく糸を張っている杉板まで草木染で染め上げたインテリアアート。自然の色は化学染料に比べてどうしても退色、変色が早い事が問題視されますが、この作品では作品保護に抗UVカットアクリル板を使用し、室内に入る紫外線の98%以上カットすることで最大限元の姿を楽しめるようになっています。 自然の景色が美しさを手放すことを恐れず、姿を変えていく様に人は感動します。その美しさと移り変わりの美学を自然の色と素材で表現し、投資としての価値ではなく鑑賞者と共に正しく歳を取ることに価値を見出したインテリアアートです。 額は部屋に馴染むコーティング無しの檜を小田原の木工職人に形にしてもらい、額も作品と共に年齢を重ねる作品の一部となっています。 This is an interior artwork in which silk threads dyed by herb dyeing are carefully attached one by one, and not only the silk threads but also the cedar board on which the threads are stretched are dyed by herb dyeing.Compared to chemical dyes, natural colors tend to fade and discolor more quickly, but this work uses anti-UV cut acrylic panels to protect the work, blocking more than 98% of the ultraviolet rays that enter the room so that the original appearance can be enjoyed to the maximum extent possible. People are moved by the way natural scenery changes its appearance without fear of losing its beauty.This interior artwork expresses this beauty and the aesthetics of change with natural colors and materials, and is not an investment, but rather a piece of art that will age properly with its viewers. The frame is made of uncoated Japanese cypress that blends well with the room and is shaped by Odawara wood craftsmen, making the frame a part of the work that ages along with the artwork.