Since 1907, in the Nishijin district of Kyoto, Watabun has been creating obis that enhance women’s beauty under its company creed of “the joy of connecting with authenticity.” For 118 years, they have continued this tradition.

Today, only a handful of weaving houses in Nishijin still handweave. Among them, Watabun’s unique strength lies in having its own factory, which allows for quick responses to customer requests and the creation of original designs through fully integrated production. One of the hallmarks of Watabun’s obis and kimonos is their lightness. Though they appear weighty and substantial, once worn they move with surprising ease. This is the crystallization of craftsmanship that balances both dimensionality and lightness.

Watabun also engages in restoring Noh costumes. In one such project, they spent two years faithfully reproducing an Edo-period costume, working alongside museum directors, art university professors, and other specialists to authentically revive its colors and techniques. Beyond this cultural heritage–level expertise, Watabun continues to evolve, developing interior fabric products that apply Nishijin weaving know-how and skincare goods that utilize the qualities of silk—uncovering new possibilities and values of silk.

At the pinnacle of Watabun’s craft is Honkaraori. Compared with ordinary karaori, it uses superior silk threads with an extraordinarily fine density of warps and wefts. The silk threads produce a distinctive “gik-gik” sound when touched—like stepping on fresh snow. This unique creak of silk is proof of threads dyed while still fresh and of the highest quality.

Honkaraori achieves a finish that is light, supple, yet firm, with a lustrous and delicate beauty. Throughout the process, utmost attention is given to adjusting the “density.” Volume is modulated according to design to achieve an elegant silhouette when worn.

Another hallmark of Watabun is the careful planning of patterns so that they look beautiful even when the obi is tied. For example, motifs that fall vertically at the back are woven with adjusted directions, ensuring beauty from every angle. With both handweaving and machine weaving techniques at their disposal, Watabun is able to accommodate a wide variety of orders.

“As craftsmen, we must be able to weave the same piece again. What we make are not merely ‘woven things’ but products to be sold,” says veteran craftsman Isao Tsuda. “It makes me happy when customers say they are surprised at how light the obi feels once tied, or remark how beautiful the kimono looks at first sight. If the reverse side were poorly finished, the product itself would be unworthy. True quality appears more clearly on the reverse than the front.”
Here stands the figure of a dedicated craftsman, sincerely and consistently supplying fine Nishijin textiles.

Chief Planner Michiko Goto says, “What is ‘authentic’ is something that continues to move people’s hearts even after hundreds of years.” This spirit is embodied not only in kimonos and obis but also in new challenges.

The brand firstsilk, created to preserve tradition and pass on the beauty of silk to future generations, has developed body towels made from the rare kibiso thread—silk extruded at the very start by silkworms. Though unsuitable for weaving and usually discarded, this scarce kibiso (only about 3% of the cocoon) is rich in sericin, a collagen beneficial to skin. Thus, a new product was born that gives value to a byproduct of silk.

The inspiration came from noticing that artisans’ hands were always smooth. The silky touch after use is exceptional. Today, Japan’s silk production accounts for only about 2% of the global total. Still, Watabun is working toward a revival of domestic silk by collaborating with young generations who are starting sericulture in rural areas.

As Ms. Goto notes, “The appeal of silk has yet to be fully conveyed.” Indeed, silk holds boundless potential, from fashion to medical applications. For Watabun, the key is not merely protecting tradition but advancing through constant challenges. Even today, in their Nishijin workshop in Kyoto, master artisans continue weaving with skill and vision, carrying forward 118 years of history and spinning “the joy of connecting with authenticity.”