Traditional kimono painter reveals eye for beauty

By Lisa McLean

            People have long been fascinated by the style and artistry of the Japanese Kimono and the process it takes to put one on, but few know what is behind the design technique for these pieces of wearable art.

            For more than 40 years, Mitsuo Haruki has been creating custom kimono designs through the fabric-dyeing technique of “kyo-yuzen,” which originated in Kyoto 300 years ago.

            “I intended to become an architect, but I failed the exam,” said Haruki, an expressive, free-spirited 62-year-old with shoulder length white hair and a quick smile. Instead of trying to pass the exam again, he decided to move to Kyoto where a distant relative and kyo-yuzen artisan offered to teach him everything he knew.

            Always interested in art, Haruki said he felt privileged to learn this technique, which takes 10 years to master. Sadly, his teacher died after only five years, and because kyo-yuzen craftsmen are very secretive about their methods, Haruki was left to figure out the rest on his own.

            “I struggled to stay in the yuzen world,” he said.

            He said he had to learn for himself the many different processes it takes to complete a kimono design, which is what he feels makes him so unique. Many kyo-yuzen artists have other craftsmen who take over some of the processes, about 15 steps in all, but Haruki takes pride in the fact that he does each step himself.

            Starting out with a sketch, he shows a potential client what is available. In all, he makes between 200 and 300 sketches before he starts painting the silk fabric. There is no hurrying this artist; he will only sketch living things. His specialty is flowers, and if a client wants a design such as a peony in the off season, they must wait until they come into bloom again before he will start the process.

            “I’m inspired by beautiful things, especially flowers – they are a symbol of peace,” he said.

            One such kimono of peonies took over three years to make and cost 4,000,000 yen (about $50,000), but Hiroki said most of his creations take a few months to complete and the cost depends on the client.

            After he hand paints the silk panels, he uses the traditional method of mashing soy beans into a thick paste that he puts on the panels to keep the design from running. Then with the deftness of a French pastry chef, he pipes melted rubber around the design and hangs and stretches the panels on bamboo until they and ready to be dyed. Haruki makes his own paint with products he imports from Europe, “The quality is so much better than Japanese ones,” he said.

            Haruki said he enjoys each step of the kimono- painting process. “Each has its own pleasure.” He is proud that each piece is an original that can be either worn or hung on the wall as art.

            “I am an original,” he added with a smile.

            Although there are few female yuzen artisans, Haruki met his wife of over 30 years, Hiromi, when she was studying kyo-yuzen at the same time he was. He said this sometimes leads to some dramatic family quarrels about how to best produce work. 

            Haruki is not sure if his 22-year-old son will follow in his footsteps. He is also an artist, but prefers drawing manga cartoons.

            Will Haruki ever retire?

            “I would like to continue until I am 100 years old,” he said with a twinkle in his eye.