Hikibaku is a weaving technique that uses thinly cut strips of washi paper coated with lacquer and decorated with gold or silver foil or patterns, as weft threads. Originally said to have come from China, it is now a rare textile woven almost exclusively in Kyoto, particularly in Nishijin. In our “Luxury Nishijin Brocade,” materials like “Genuine Gold Hikibaku” and “Pure Platinum Hikibaku” are indispensable.
This time, we interviewed Mr. Takahiro Yamazaki, president of Yamazaki Haku Co., Ltd., a craftsman who specializes in making hikibaku. Among the various types, Mr. Yamazaki is particularly known for creating “Patterned Hikibaku.”
Yamazaki Haku Co., Ltd. – Mr. Takahiro Yamazaki
“Just do it earnestly.” These are the words of Mr. Yamazaki, a hikibaku craftsman in Nishijin weaving.
Originally from Nagasaki, he moved to Kyoto and entered the world of gold thread after working in equipment maintenance at a dye factory. He has been working with Nishijin foil for 45 years.
His journey has been shaped by chance, curiosity, and sincerity.
The Path of Foil Began at a Gold Thread Shop
After graduating high school, Mr. Yamazaki got a job at a dye company in Minami-ku, Kyoto, where he was in charge of machinery maintenance. Through a connection with a senior from Kyushu, he transferred to Takeda Kinshi, a gold thread shop in Nishijin. At the time, he only knew the word “Nishijin,” and the actual work at the gold thread shop was quite different from what he had imagined.
Incidentally, our company also works closely with Takeda Kinshi.
Expecting a factory, he found a regular house. It was a workplace where living and working were integrated. Many of our visitors who come to see Nishijin weaving sites often say the same thing: “Is this really the place? It looks like a regular house.”
Takeda Kinshi is a specialized thread shop that produces genuine gold foil threads and gold threads using lacquer, mainly for the Nishijin brocade industry.
 Genuine Gold HikibakuThread made by applying lacquer and gold foil to washi paper, then cutting it into strips. |
 Genuine Gold ThreadThread made by wrapping cut or slit genuine gold hikibaku around a core thread. |
At Takeda Kinshi, Mr. Yamazaki encountered hikibaku made with lacquer applied by hand—a true artisan’s craft. Because he joined a shop that dealt with “genuine gold,” he naturally believed that gold thread was something drawn with lacquer. (In reality, gold thread ranges from inexpensive vapor-deposited aluminum to high-end genuine gold, so he started at the very top.)
Later, while visiting obi makers as a sales representative, Mr. Yamazaki encountered the term “patterned foil.”
This photo shows a patterned hikibaku that deeply moved me. Two sheets of patterned foil were created, cut into strips, and woven into an ajiro (basket weave) pattern. Then it was cut again and used as thread. Even as a single sheet of paper, it was so beautiful that I felt it was almost too precious to weave.
“Mud Gold” and “Polished Foil” – Memorable Creations
We asked Mr. Yamazaki about the most memorable works he’s created.
He recalled two techniques that sold well and left a strong impression: painting with gold using “mud gold”, and creating depth and texture with “polished foil” by layering and sanding lacquer.
With mud gold, you place gold foil onto slightly thick lacquer using bamboo chopsticks. Then you press the foil pieces together to fill in the gaps—like painting with gold.
Polished foil has a unique atmosphere and three-dimensional quality. You apply gold onto lacquer, then layer colored lacquer over it, and finally sand it down to reveal the design. The patterns emerge from the multiple layers of lacquer.
By changing the base color or design, you can create vastly different textures and depth.
This technique reproduces lacquerware methods on washi paper—similar to Tsugaru-nuri in lacquerware.
We also used different grades of genuine gold foil, like No.1 and No.4, to create contrast.
Back then, hikibaku was selling well—especially the high-end types. It was a thrilling time.
At the time, hikibaku was said to make up only about 5% of all Nishijin obi.
Out of 5 million obi woven, that’s just 250,000.
When I started, people said, “You’re entering such a niche field?”
They were surprised I chose this path.
Trial and Error After Going Independent
After leaving the gold thread shop and becoming independent, Mr. Yamazaki was surprised by how low the unit price was for patterned foil compared to genuine gold hikibaku. “Wait, I have to make foil this cheap?”
Even though he thought that many times, Mr. Yamazaki always gave it a try when asked.
Hikibaku that’s easy to handle as thread.
The materials used to make hikibaku vary widely.
So even if someone shows me a sample and says, “I want something like this,” it might look similar, but making an exact match is very difficult.
Reproducing the same thing consistently is extremely hard.
For example, if someone says they like a silver-based foil, I’ll try to make something similar.
But one might be regular washi, another might be crumpled washi, or not crumpled at all—so even if they look alike, the material conditions are different.
What I’m focused on now is standing in the weaver’s shoes and making hikibaku that’s easy to use and easy to weave, no matter which type they choose.
No accidents, no foil peeling, no thread breakage.
That’s the ideal hikibaku.
But that’s a separate issue from whether the hikibaku is “interesting.”
Even if you create a fantastical hikibaku, if it can’t be woven, it’s meaningless.
It’s a deep field.
Hikibaku doesn’t stand alone—it’s woven into thread, and then jacquard patterns are layered on top.
So Nishijin weaving doesn’t end with just hikibaku.
Mr. Yamazaki’s atelier is filled with countless hikibaku samples. The sheer volume of his collection speaks to the richness of his work.
Hands-On Research and Dialogue with Fellow Artisans
Mr. Yamazaki has tried many different approaches over the years. The following words reflect his sincere attitude toward his craft:
With hand-pulled foil, we could adjust for the seams between sheets of paper, which cause weaving steps.
No matter how carefully you try to join sheets of washi, steps appear when woven.
So I experimented with using wide 1cm foil strips, actually weaving them to study how to eliminate those steps.
I’ve really tried all sorts of things through trial and error.
We asked Mr. Yamazaki what customers should keep in mind when handling hikibaku:
Genuine gold hikibaku uses lacquer, so the foil strips won’t stick together.
But patterned foil made with lacquer-based paints should be used quickly.
The paper can stick together.
If you’re not going to use it right away, please air it out.
“Sincerity” – Mr. Yamazaki’s Guiding Principle
“What do I value most? Sincerity.”
Though it may sound like a simple word, it truly encapsulates Mr. Yamazaki’s entire approach.
There was one comment he made that deeply moved me:
Nishijin weaving is a craft that can’t be sustained without joy. His words resonated with my own belief that “Nishijin weaving should be fun.”
When I asked Mr. Yamazaki whether he had any issues with lacquer allergies while working with genuine gold hikibaku, he shared:
Was I okay with lacquer?
As a child, I used to play in the river near my house.
There were wild Japanese wax trees growing there.
I’d hang my clothes on them or climb them for fun.
I was totally fine.
Japanese wax trees don’t produce lacquer resin, but people can still get rashes from them.
I guess I was just used to it from a young age.
Mr. Yamazaki’s sincere dedication to hikibaku within Nishijin weaving reminded me that work isn’t just “work”—it’s something that intertwines with life and becomes part of one’s journey.
Editor’s Note
My encounter with Mr. Yamazaki came through an introduction from an obi maker I met on Facebook. At the time, I had just begun exploring new sales channels. In the market I was aiming for, people would say, “We want beautiful fabrics like this, but Okamoto’s prices are too high—can you lower them?” Meanwhile, within our company, I was told, “Our strength is hikibaku, so bring that to market.” I was caught in between.
But hikibaku, being a luxury material, is difficult to sample and rarely makes it to market. That’s why hearing directly from Mr. Yamazaki, who knows hikibaku inside and out, was incredibly enlightening. His vast collection of hikibaku samples was fascinating—each one a treasure.
I truly hope we’ll have the opportunity to exhibit his samples someday. Of course, hikibaku is meant to be woven into textiles, but even as standalone sheets of paper, they are captivating. Designers and artists—would you consider creating something with this paper?
Through this series of interviews, we’ve visited thread makers, dyers, warpers, and hikibaku artisans. I’ve been deeply moved by the sincerity with which each Nishijin-related craftsman approaches their work. These are fields where, for now, artificial intelligence has no place.
Next time, we’ll share the voice of a craftsman who specializes in cutting hikibaku.
For a full list of artisan interviews, please visit the link below:
“MANGA × Nishijin Weaving”
In 2023, our company began production of the All-Silk Nishijin Brocade Tapestry with Pearl Powder and Genuine Silver Patterned Hikibaku – Komatsunagi Design, marking our first hikibaku product for the general market. For this, we commissioned Rakugei Kobo in Shiga to produce the hikibaku.
This tapestry was created for exhibition purposes. Its debut drew significant attention, leading to increased inquiries from companies and orders from individuals. In a corporate collaboration, Mr. Ryosuke Matsui’s brand, ha | za | ma, adopted our Nishijin brocade silk fabric with genuine silver foil hikibaku for their 2024–25 AW collection.
Ever since, I’ve wanted to try “illustrated foil” hikibaku—especially using inkjet printing. Knowing that Mr. Yamazaki had a large-format inkjet printer, we decided in 2025 to produce the “MANGA × Nishijin Weaving” hikibaku with Yamazaki Haku. It’s been a joyful process, full of surprises. As of this article’s publication, the project is still underway.
Here is the hikibaku created by Yamazaki Haku for “MANGA × Nishijin Weaving”:
Design by Granuto for MANGA × Nishijin Hikibaku – Produced by Yamazaki Haku
This collaborative tapestry—featuring all-silk Nishijin brocade with genuine silver foil patterned hikibaku—will be exhibited starting October 3 at the 2025 Japan International Expo “Osaka-Kansai Expo” in the EXPO Messe “WASSE” pavilion.
With Mr. Yamazaki’s generous guidance, we’ve been developing illustrated hikibaku together. It’s been a fascinating journey, and I hope to continue learning more about the many ways hikibaku can be created.
We hope you’ll come see it at the 2025 Osaka-Kansai Expo’s interactive exhibit “Future Voyage – The Journey of Small Businesses Toward 20XX”.
