The only workshop that continues the legacy of Noto Jofu, a traditional textile from the Noto region of Ishikawa Prefecture dating back to 1891, is the Yamazaki Hemp Textile Workshop. Noto Jofu is a high-quality hemp fabric designated as an Intangible Cultural Property of Ishikawa Prefecture. Its origins are said to trace back some 2,000 years, when Princess of Emperor Sujin is believed to have taught weaving to the people of the Nakanoto area.

Unlike linen (flax), which is more common today, Noto Jofu is made entirely from ramie (choma), a fiber traditionally used in Japan. Kimono made from Noto Jofu are characterized by their translucence and luster reminiscent of cicada wings, their handwoven texture, and intricate kasuri (ikat) patterns.

The workshop is located in Hakui City, which was struck by a strong intensity 5 earthquake during the Noto Peninsula Earthquake on January 1, 2024. “It was heartbreaking to see the familiar landscapes of Noto changed by the disaster. That’s why I wanted to capture the beautiful Noto I remember in my fabrics. The colors of Noto in my memory are gentle, and by expressing them, I hope people will be reminded of Noto’s scenery more than ever.”

“It’s only been a few months since the earthquake, and the fear and sense of danger haven’t gone away. That’s why I want to continue sharing the charm of Noto through our craft. Not only our workshop, but we also hope that people will return to Noto itself,” says Etsuko Kuze, the managing director and niece of head craftsman Takashi Yamazaki.

One defining feature of Noto Jofu is that it is entirely handwoven. The unique density achieved through manual weaving creates a translucence often compared to cicada wings.

“Machine weaving may be more efficient, but machines can’t replicate the same airy lightness, coolness, or texture. That’s why we insist on 100% handweaving,” says Kuze. Another hallmark of Noto Jofu is its kasuri (ikat) patterns, produced with pre-dyed warp and weft threads. The workshop employs original techniques such as kushi-oshi-nassen (comb press printing) and roll printing, which allow for sharp, precise designs with little blurring.

Unlike other regional dyeing techniques, which often involve tying and dipping threads (resulting in blurred patterns), Yamazaki Hemp Textile Workshop employs complex methods to achieve crisp, modern-looking designs. At exhibitions in Tokyo, they often hear visitors say they’d love to enjoy kasuri patterns in a fashion sense. With the help of social media, appreciation for their modern aesthetic has been steadily growing.

Just as Okinawan textiles often feature blue, textiles from Noto reflect the region’s nature with subdued, grayish tones. While central Kanazawa is associated with samurai residences and golden hues, Noto conveys the colors of its natural environment. “When I say ‘nature,’ I don’t mean bright greens or blues—Noto’s nature is gray. The contrast with Kanazawa is striking, and I want to reflect those colors in the fabric,” says Kuze.

Even with the same base color, the outcome varies depending on the weaver. Since the color is formed by the interplay of warp and weft, the exact shade isn’t known until the cloth is woven. Through trial and error, colors are decided, and sometimes the results exceed expectations.
Summer kimono made of Noto Jofu ramie are cooler and lighter than yukata, offering a refreshing sensation, a pleasantly cool touch unique to hemp, and an unmistakable comfort.

“Unlike cotton or silk, these kimono can be worn for 20 or 30 years. The more hemp is washed, the softer and more comfortable it becomes—you can treasure it for half a lifetime. Some people who avoided kimono in summer because of the heat told me they could wear ours because they’re so cool. It changes how they spend weekends, even their lifestyle. It feels rewarding to contribute a little color to people’s personal lives,” says Kuze.
Through Noto Jofu, the colors of Noto’s nature blend into daily life.

Kuze grew up admiring her grandfather, who passed down the craft with passion. Once she began making textiles herself, she realized anew the greatness of his devotion. Yet, she admits it’s challenging to communicate the complex appeal of Noto Jofu to people unfamiliar with it. “Most people don’t know how jofu differs from ordinary kimono fabrics or what material it’s made from—it feels intimidating. I’ve been thinking hard about how to make Noto Jofu more approachable for people who know nothing about it, especially young people,” she says.

Yamazaki adds, “I want to maintain the quality and the pace of production our predecessors achieved.”

Since starting on social media, they have reached more men and people in their 40s, and now design about four new patterns a year. Yet at the core remains Noto Jofu’s unique charm. Rather than moving toward bright colors, they focus on grayish tones that reflect Noto’s weather and climate.

“People want something different, something unique to them. Even if the colors aren’t entirely one-of-a-kind, customers feel as though they’re choosing a special piece just for themselves. That sense of uniqueness comes only from handweaving, not machine weaving. Because of that, I want to honor the feelings of each customer.”

While preserving tradition, they continue to propose never-before-seen colors and nuances, expanding the expression of Noto Jofu.