Infusing Nishijin weaving with new energy from beyond
When weaving Nishijin textiles, materials and tools are essential—but so is the “design,” known as the “underpainting,” which forms the basis of the woven motif. Our company specializes in Nishijin brocade for shrines and temples, but we’ve long been driven by a desire to create something unexpected. That’s why we’ve showcased designs that challenge the conventional image of Nishijin, and collaborated with designers and creators across genres.
Nishijin weaving is traditionally associated with formal ceremonies and high culture. But through our “MANGA × Nishijin Weaving: Pictorial Foil Sequential Pattern” project, we aim to fuse the expressive freedom of manga with the elegance of Nishijin, revealing a completely new dimension. We hope that by meeting manga, Nishijin textiles will become a medium that “speaks to the world.” Through this project, we’ve woven stories and emotions into fabric—quietly reaching into the hearts of those who view it.
For this initiative, we commissioned the Kyoto-based creative duo “Granuto” to produce original designs for the MANGA × Nishijin weaving project.
“Hyuran,” an original illustration created for Nishijin weaving
“Hyuran,” the piece created for this project, carries a story unique to Granuto. Ayame, with long hair, and Meg, wearing glasses, drift from their ordinary days into a dreamlike world. Surrounded by unfamiliar plants and flowers, they chase a radiant light called “Hyuran”—and eventually, they reunite. This delicate yet hopeful narrative is woven into the textile, with the wish that it gently touches the memories and emotions of each viewer.
We sat down with the duo for an interview.
Granuto: Kohno Shin and Metabo
In spring 2025, we approached Granuto with the idea of designing for our MANGA × Nishijin weaving project. While we regularly produce sequential foil patterns, we had long dreamed of creating works using pictorial foil. We’d also wanted to explore manga—a pillar of Japanese pop culture—as a theme. When we revisited Granuto’s work, which we’ve admired for years, we knew their designs would be perfect for Nishijin.
Entering the world of textile design, Granuto encountered constraints: converting freehand illustrations into pixel art, and working within limits of materials and color palettes. Yet we believe that this very sense of disorientation marks the first step in crossing the boundary between tradition and modernity.
Who is Granuto?
Here are some of Granuto’s works. Manga represents Japanese pop culture, while Nishijin weaving embodies traditional craftsmanship. When these two meet, they have the power to convey “the now of Japanese craftsmanship” to audiences both domestic and international. We felt that Granuto’s illustrations could make this emotional resonance possible.
Illustration by the young creators of Granuto
Kohnoshin and Metabo—together, they form the unit “Granuto.” Just 19 and 18 years old, they met in middle school and bonded over their love of drawing. Now attending art university, they’re exploring a wide range of creative expressions, including video and manga.
Granuto’s Experience Designing for Nishijin
As they shared, “Drawing and weaving are completely different worlds.” The process of converting freehand lines into pixel art was like stepping into another dimension—an experience that will likely expand their creative horizons. We asked them about their journey designing the underpainting for Nishijin weaving.
Though both fall under the umbrella of creation, making underpaintings for textiles felt completely different from anime or manga. The rules were unfamiliar, and we were often confused. We submitted regular illustrations, but they had to be converted into pixel art for weaving. While we didn’t do the conversion ourselves, we had to deliver the artwork in a way that made it easier to process. That was tough.Also, this was our first major commission, so we were nervous. Things didn’t go exactly as we imagined, and that was disorienting. But having this kind of experience early in our careers was probably a good thing.
This photo shows the PC screen at Okamoto Orimono Co., Ltd., where Granuto’s original illustration is being reconstructed into a pixelated design for weaving.
Because the image is magnified, you can see the pixel structure. When designing for textiles, we can’t simply draw at 100% scale. The proportions change depending on the width of the textile, the number of jacquard needles, and the density of warp and weft threads. For hand-drawn designs, the paper is pre-lined to match the textile’s density. But when designing digitally, the grid is square, which makes it difficult to follow the original design exactly.
Collaboration with Nishijin Artisans
For this project, we asked Granuto to create both the underpainting and the design for the pictorial foil sequential pattern. They submitted three to four layered illustrations. The foil process involves printing the artwork via inkjet onto washi paper, then applying color and metallic foil. Granuto took part in both the coloring and foil application. They learned the techniques from Mr. Yamazaki, the foil artisan, and completed the coloring at our studio and their homes before returning to Yamazaki’s workshop to apply the foil.
This photo shows the washi paper after inkjet printing and coloring. Mr. Yamazaki prepared the paper with a special coating to make it compatible with inkjet printing and subsequent coloring.
Granuto applying color to Nishijin foil
Here, they are applying foil at Mr. Yamazaki’s studio. It was their first time working under such specialized conditions, and they said they truly enjoyed the experience. However, they found that evenly applying gold foil to make it shine was more difficult than expected. They completed one section themselves, while the remaining two were finished by Mr. Yamazaki.
Granuto applying foil to Nishijin textile
“There are jobs like this?”—witnessing the foil-making process firsthand, they were struck by the depth of Japanese craftsmanship and felt their creative horizons expand.
Granuto’s Creative Philosophy
We asked Granuto what drives their creative process. Their answers echoed thoughts I often have myself: “Sometimes the first sketch is the best.” That initial burst of inspiration can lead to remarkably smooth execution.
But when a request comes in, it suddenly becomes a duty, and that can take the joy out of it.
Negative emotions can grow, but in the end, we believe that enjoying the process leads to better work.
We try not to forget that original feeling: ‘Creating is fun.’
We try not to get too stiff. Sometimes the first sketch, drawn without overthinking, turns out best.
If people look at our work and think, “What is this?” then maybe we’ve missed the mark.
So we try to set goals—not necessarily to give meaning to every action, but to stay true to our beginnings.
Even if the first sketch is great, we want to refine it into a finished piece that retains that original spark, so viewers don’t just say, “What is this?”
Even though they’re just starting out, their commitment to “never forget the beginner’s mindset” surprised me. After nearly 30 years in Nishijin weaving, I felt their words were a gentle warning to myself—reminding me to seek joy in my work again.
Looking Ahead: Granuto in 10 Years
We also asked Granuto about their vision for the future. Their response—“We want to do work that satisfies us”—revealed both resolve and passion.
We don’t really want to be big. We haven’t seen many people who became famous and still seem happy.
We’d rather be the kind of creators who have a small but loyal following, working steadily in niche magazines. That seems more fulfilling.
We want to do work that satisfies us.
Creators who enjoy their work share that happiness with others, and that joy is contagious.
So first, we need to enjoy ourselves.
That’s how we want to be ten years from now—happy and creating.
We want people to say, “Wow, they look like they’re having fun drawing.”
If we become that kind of artist, we’ll be able to create even better work.
We’d love to design something even bigger for Nishijin weaving someday.
Where Tradition Meets Youth
Granuto’s designs for the “MANGA × Nishijin Weaving: Pictorial Foil Sequential Pattern” project are still in progress at the time of this interview. The weaving hasn’t been completed yet, and as the person overseeing the project, I’m so excited I can hardly sleep. We’re steadily preparing for the exhibit at the 2025 Japan International Expo in Osaka-Kansai, titled “Future Voyage: The Journey of Small Businesses Toward 20XX”.
When asked about their expectations for the final piece and the Expo exhibit, they said:
But once we see it, we’ll probably feel like, “Yeah, we really did this.”
If it’s displayed at the Expo, that’ll make it feel real.
Exactly. That’s how it should be.
We want to show them a Nishijin tapestry that will leave them speechless.
The beauty of Nishijin weaving is born not only from the hands of artisans, but also from encounters with youthful creativity. What kind of breeze will Granuto’s designs bring to the future of Nishijin? What impression will this fusion of tradition and pop culture leave on the world’s visitors? Please come see for yourself at the 2025 Japan International Expo “WASSE.”
“MANGA × Nishijin Weaving: Pictorial Foil Sequential Pattern” is a bold attempt to present a new cultural form—where traditional craft meets youthful imagination. We believe that by merging Nishijin weaving with the narrative power of manga, this textile can evolve into a medium that speaks.
Granuto
(Interviewed on August 22, 2025 / Text & Photos by Ema Okamoto)
Editor’s Note
I’ve known the two members of Granuto for years. I never imagined they’d pursue creative careers, but I’ve quietly watched their work improve with each piece. I never thought the day would come when we’d collaborate on Nishijin design. But as I looked at their recent illustrations, I felt the storytelling in their art resonated deeply with the world of Nishijin.
When the opportunity to realize my long-held dream of “MANGA × Nishijin” finally came, they were the first people I contacted. I didn’t expect things to go perfectly from the start—I just asked to see a few rough sketches. That was the beginning of this project.
Looking back, despite the intense summer heat and many unexpected challenges, it’s been a truly joyful experience. The final piece isn’t finished yet, so I can’t say for sure—but I’m very excited to see how it turns out.
Interviewing two people who aren’t even twenty yet was a challenge. I’d only ever interviewed people older than me. These two are still undefined, still becoming. All I see is potential.
During this series of interviews, we visited thread makers, dyers, warpers, foil artisans, cutters, and the creators behind the designs. It is thanks to these artisans that our work as weavers can exist.
Next time, we’ll share the voices of the artisans responsible for final fabric finishing.
You can find the full list of artisan interviews here:
“MANGA × Nishijin Weaving”
In 2023, we began production of the All-Silk Nishijin Brocade with Pearl Powder and Genuine Silver Foil: Spinning Top Motif Tapestry. For our first foil-based product aimed at the general market, we commissioned Rakugei Kobo in Shiga to produce the foil.
This tapestry was created for exhibition purposes, and its release drew significant attention. We received inquiries from companies and orders from individuals. In a corporate collaboration, designer Ryosuke Matsui’s brand ha | za | ma, 2024–25 AW featured our Nishijin brocade with genuine silver foil in their collection.
Afterward, we continued seeking opportunities to challenge ourselves with “pictorial foil,” especially using inkjet printing. Knowing that Mr. Yamazaki had a large-format inkjet printer capable of handling such work, we decided to produce the foil for “MANGA × Nishijin Weaving” with foil artisan Yamazaki in 2025. As of the publication of this article, the piece is still in production.
Here is the foil created by Mr. Yamazaki for the “MANGA × Nishijin Weaving” project:
This collaborative tapestry—featuring all-silk Nishijin brocade with sequential pictorial foil—created with the young manga creator duo “Granuto,” is scheduled to be exhibited starting October 3 at the 2025 Japan International Expo “Osaka-Kansai Expo” in the EXPO Messe “WASSE” pavilion.
