Sashiko has grown remarkably in global recognition. With that growth comes an expanding spectrum of how it is seen, interpreted, and practiced. As someone who has been immersed in Sashiko since childhood, raised in a household where the stitch was a way of life rather than a style or statement, I often find myself surprised by how unfamiliar some modern interpretations feel. And yet, I do not believe Sashiko belongs to a single definition.
There is no strict boundary of “right” or “wrong” in Sashiko. Each version has its own validity. However, when interpretations emerge without acknowledgment of the quiet wisdom and lived experiences that built this tradition—when the roots are overlooked or forgotten—something essential is lost. The Sashiko itself might still be beautiful, but its essence becomes disconnected.
The widely circulated image of Sashiko today is often a simplified one, shaped to fit aesthetics or market needs. In many cases, it leaves out the depth and diversity of what Sashiko truly encompasses. I know many artisans whose lives revolve around stitching, who have developed deep relationships with the cloth and thread, yet they rarely speak publicly. They don’t share on social media. They don’t teach in workshops. Their work isn’t driven by visibility, but by a private devotion—quiet, steady, enduring.
Not everyone needs to raise their voice to be heard. In fact, some of the most powerful expressions come through silence—through stitches repeated across years and seasons. These makers may not call themselves artists or storytellers, but their Sashiko carries narratives far richer than words alone can convey. My role, as someone who bridges different cultures and generations, is to make sure these stories are not lost.
In that spirit, I’m honored to announce an exhibition that will bring these quiet voices into the light—Sashiko Koburoshiki, taking place in November 2025 in Takayama City. This special event will feature small wrapping cloths—koburoshiki—hand-stitched by artisans who live Sashiko every day, not for display, but as part of who they are.
The idea is simple, but profound: the same cloth, the same hand-dyed threads, the same tools—but each piece tells a different story depending on the person stitching it. Even with shared techniques such as Unshin—the subtle, rhythmic movement of the needle—what emerges is never the same. A shift in color choice, the spacing of stitches, or the feel of the fabric can reveal a world of difference. This is what I believe Sashiko can teach us: that within repetition lies infinite variation. Within quiet lies great meaning.
The koburoshiki is a humble item, traditionally used to wrap small gifts or protect something valuable. It is not made to impress. It is made to care. It is stitched not to decorate, but to serve. And in that service, it carries beauty that often goes unnoticed. That’s exactly what we want to explore through this exhibition—how something small and quiet can hold so much life, memory, and dignity.
Through these pieces, we invite you to experience a version of Sashiko that is not bound by trends or spotlight. It is Sashiko as lived practice, shaped by hands that have stitched through joy, hardship, and everything in between. It is Sashiko with its roots intact.
Please join us in Takayama City in November 2025 for the Sashiko Koburoshiki Exhibition. More information will be shared as the date approaches. I hope this exhibition becomes not only a showcase of beautiful cloths, but also a moment of reflection—a reminder of why we stitch, and for whom. Samples are below.
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