福田喜

京友禅

<h1>刺繍とぼかし染めの美しい調和が魅力</h1>
<paragraph>昭和2年（1927年）創業、京都市北区に工房を構える福田喜では、刺繍、染め、箔加工を用いた創作着物を製作しています。刺繍をより一層引き立てる地染めのぼかしの効果のほか、着用時の動きによって生まれる刺繍独特の絹の光沢、調和の取れた華やかな色使い、ぼかしの色・柄・空間のバランスを生かした絵画的で大胆な構図など、伝統を守りながらも時代に合わせたデザインが特徴的です。</paragraph>
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<paragraph>鮮やかなグラデーションが特徴の「ぼかし染め」は、日本の情景を表現した伝統的な技法です。この「ぼかし」は、靄がかった景色を眺めているような、湿度の高い日本ならではの気候風土を表現しています。（日本に比べてカラッと乾燥した気候のヨーロッパでは、はっきりとした色分けやビビッドな色がが多く使われています）<br /><br />

使用する染料は、独自で調合してオリジナルの色を製作。絵画的なデザインを実現するため、色を豊富に使うことを意識しています。一方で、この豊富な色をしっかりと生かす染色の工程は熟練の職人でないと難しく、綺麗に染めができるようになるまで約3年はかかるといわれています。というのも染色は、その日によって変化する湿度の影響などを受けるため、全く同じように染めることが難しく、色合いが変化したり、色の性格に合わせて染め方を変える必要があり（暖色は伸びやすく、寒色は伸びにくいなど）、知識と経験が必要となるからです。また福田喜では、反物をつなぎ合わせる際に色がズレないように、ぼかし足まできっちりと合わせるなど、一般的には難しい細部にまでコストをかけてこだわっています。<br /><br />

そのぼかし染めを生かすため、控えめに施された美しい刺繍。先代・福田喜重さんは刺繍の部門では唯一、重要無形文化財・人間国宝に認定されていました。ぼかし染と刺繍、これらを引き立てる空間のバランスをとった絵画的な構図は今も受け継がれ、高く評価されています。</paragraph>
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<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/b77cddc7-b7cc-4732-aef2-ef875955ef5c-JN9skUHx7W4zMrIUbzYctHIcZwJbe9.jpg' caption='繊細な絵柄は「草稿」という木炭や鉛筆で描かれた、デザインの原案のようなものを元にひとつひとつ丁寧に描かれていく。'></photo>
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<h1>伝統の技術と文化を残すために、変化と挑戦を続ける</h1>
<paragraph>福田喜の技術と想い、そして着物づくりの文化の担い手として刺繍を続けるためには「変化が必要」だと語った先代の言葉を、大切にしているという二代目の福田喜之さん。「同じものを作り続けて留まっていると発展性がなく、続けてはいけない。だからこそ、決して手を抜かず、常に手を入れることを徹底しながら、職人と共にアイディアを出し合い、チャレンジを続けていきたい」と福田さん。先代の言葉を胸に、時代に合わせて表現方法を変えながら、未来に向けて新しい提案・創作を続けていると語ってくれました。<br /><br />

色も刺繍も手作業で、職人たちと相談しながら作っているからこそ、時には「成人式の着物を作って欲しい」というオーダーにも対応。ひとりひとりに寄り添いながら、ほかにはない特別な着物を作り続けています。最近では、実際に製作した着物を使った、アートパネルも販売。インテリアとして「着物を飾る」という新しい取り組みも行っています。</paragraph>

<h1>The captivating harmony of embroidery and blurred-dyeing.</h1>
<paragraph>Founded in 1927 and based in Kita Ward, Kyoto City, Fukudaki creates innovative kimono using embroidery, dyeing, and foil techniques. Their designs are characterized by the blurred-dyeing that enhances the embroidery, the unique silk luster that emerges with movement when worn, the harmonious and vivid color palette, and the bold, painterly compositions that balance color, patterns, and spatial elements. These features embody both a respect for tradition and a sensitivity to contemporary design.</paragraph>
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<paragraph>The vivid gradations of bokashi-zome (blurred-dyeing) are a traditional technique used to express Japanese scenery. This bokashi evokes the impression of gazing upon a misty landscape, a reflection of Japan’s humid climate. (In contrast, Europe’s relatively dry climate has fostered a preference for sharp color divisions and vivid hues.)<br /><br />

The dyes used are custom-blended to create original colors, with a conscious emphasis on employing a wide range of shades to achieve painterly designs. Yet, the dyeing process is extremely difficult—requiring at least three years of training before artisans can master it. This is because humidity and other daily conditions constantly influence the dyeing process, making it impossible to produce identical results. Artisans must adjust their techniques according to the nature of each color (for example, warm colors spread easily, while cool colors resist spreading). Such expertise demands both knowledge and long experience. At Fukudaki, even in joining cloth lengths, meticulous care is taken to ensure the blurred edges align perfectly—a costly and highly demanding detail often avoided elsewhere.<br /><br />

To complement the blurred-dyeing, embroidery is applied sparingly yet beautifully. The late Kisuke Fukuda, a predecessor of the workshop, was the only artisan in embroidery to be designated a Living National Treasure (Important Intangible Cultural Property). The painterly compositions—balancing embroidery, blurred-dyeing, and spatial harmony—remain highly regarded and faithfully carried on today.</paragraph>
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<photo src='https://krlazajynxwq6dfb.public.blob.vercel-storage.com/maker/e4410225-8994-4b8d-82f1-bbaddd64e196-8qrxKjLFQP48IcWDOFmU6BPfL5SFrc.jpg' caption='The delicate motifs are each carefully painted based on the “草稿 (draft),” which serves as a charcoal- or pencil-drawn prototype design.'></photo>
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<h1>Preserving tradition through change and challenge.</h1>
<paragraph>Kiyuki Fukuda, the second-generation successor, treasures the words of his predecessor, who believed that “change is necessary” to sustain embroidery as both a craft and a bearer of kimono culture. “If we continue making the same things, there is no growth, and the craft cannot endure. That’s why we must never cut corners, but constantly refine, brainstorm with fellow artisans, and keep challenging ourselves,” he explains. Holding close to these words, Fukuda continues to adapt methods of expression to the times, while making new proposals and creations for the future.<br /><br />

Because every color and stitch is handmade in consultation with artisans, the workshop is also able to fulfill custom orders, such as kimono for coming-of-age ceremonies. By working closely with each client, they create unique, one-of-a-kind kimono. Recently, they have also begun producing art panels using actual kimono they crafted, pioneering a new way to “display kimono” as interior decor.</paragraph>

色使い、構図、刺繍など、受け継がれてきた技法を用いて伝統を守りつつも、常に新しいことに挑戦し、時代に合わせたデザインが特徴的な福田喜。表現方法を変えながら、着物の素晴らしさを伝え続けています。

Fukudaki preserves tradition through inherited techniques of color, composition, and embroidery, while constantly embracing new challenges and adapting its designs to the times. By evolving its methods of expression, the workshop continues to share the enduring beauty of the kimono.