Cotton, water, dye: How a tenugui is made

Cotton, water, dye: How a tenugui is made

The process begins with a simple, undyed cotton sheet. It is woven on traditional shuttle looms to a width of just under 35 cm —exactly the standard for tenugui since the Edo period. The edges are left unhemmed. The first wash causes them to fray slightly; afterward, the fabric stabilizes and dries significantly faster than a hemmed towel.

In the past, the fabrics were bleached for days in lye and sunlight on a riverbed. Today, mild sodium carbonate and oxygen bleach do the same job in a few hours. The fabrics are then hung on bamboo racks in the sun—a step that softens the fabric and loosens excess fibers.

Chūsen: Color that reaches both sides

For classic motifs, dyers stack up to 20 layers of fabric, cover the white sections with rice paste, and pour indigo dye from the top. A vacuum pump draws the pigment through all the layers, creating a double-sided pattern, ideal for towels or headbands. Over time, the colors fade only gently, developing the patina that collectors love.

Nassen: High definition on one page

When fine lines or vibrant multi-color motifs are required, the wet process is used. Ultra-thin Katagami stencils precisely define each color, a squeegee presses reactive pigments through the pattern, and hot steam fixes them. The color lies predominantly on one side, but remains razor-sharp and colorfast.

After dyeing, apprentices rinse the fabric thoroughly to remove rice paste and excess dye. It then dries on cedar poles in the open wind – artificial dryers would harden the fibers. A final ironing smooths the material before the fabric is cut into approximately 90 cm long pieces and packed flat. Today, it usually takes only three days from the raw bale to the finished tenugui.

Some illustrative images were created using AI.