niime 百科

Encyclopedia of niime

I continued my interview with a member of the sewing team. This time I had Ms Naomi Miyazaki, whose parents were textile factory owners in the Banshu-ori area of Nishiwaki. She learned western dress and clothing creation while young and she leads ‘tamaki niime’ innovation on the sewing team with her rich sensitivity to fabrics and unique ideas. I searched for the secrets behind her unique sense.

—— In the last interview, I asked Ms Katake about the sewing team. I am impressed with her analysis.

Miyazaki

Yeah, she is terrific.

—— She’s been observing the teams progress very well, and she mentioned many times that she is so impressed with Ms Miyazaki.

Miyazaki

(laugh) Ms Katake and I are opposite each other in many areas, which may be good for us. We are well-balanced, knowing what our advantages are.

—— Ms Miyazaki, this time I would like to ask you about the secrets of your creations. You know, that flared skirt…the long one.

Miyazaki

Yeah, the long denim one.

—— ‘de flare’. I saw it featured on LINE. I thought it was a cool one.

Miyazaki

Oh, that’s good. (laugh)

—— Would you tell me about it?

Miyazaki

Well. What should I say? Basically, we always keep images of what we have seen, touched or experienced from long ago, right?

—— Since childhood?

Miyazaki

From childhood to now. You keep them with you, right? So you know how well or delicious you feel or taste.

—— Yes, we keep them.

Miyazaki

You can say the same thing with outfits. We have ideas about what we want to wear and what image or atmosphere we like in the corner of our minds.

—— I see. There was no exact picture of flare skirts from the start…you had just a vague image.

Miyazaki

There’s a stage in the back. (laugh)

—— You mean, standing on the stage?

Miyazaki

It looks like that. I’ve been saying, to my mind, there’s an image of a woman riding a horse.

—— You have an image that a woman riding a horse is wearing it.

Miyazaki

In old western movies, women fight riding on horseback. Probably it’s just movies because they wear beautiful dresses like medieval European dresses on the battlefield. Can they fight with those dresses on? However, they look feminine but solid and fabulous.

—— Ms Miyazaki, you have all kinds of image pieces fermenting in your mind, right?

Miyazaki

‘Fermenting’! (laugh) That’s right! They’ve been fermenting, and I have been outputting here. Scarlett O’Hara influenced the flared skirt in Gone with the Wind when I watched it in high school. I remember being incredibly influenced by that movie. I was shocked to see her way of living, thinking how cool she was.

—— Because she is the image of an independent women?

Miyazaki

Oh, yes, but she is cute and mischievous as a woman. She is basically not assertive, just preppy and self-centred, but she encountered adversity and tried to overcome it. Something like that. (in a small voice) Boss? (laugh)

—— We can overlap her image of dignity.

Miyazaki

Another impressive movie is ‘Sunflower’. Watching movies is not just enjoying stories; I enjoy watching the details of surrounding views, props, and colour tones. If they match the main characters, I think such movies are incredible.

—— You think they are well coordinated.

Miyazaki

I can improve my sense of style by watching them. I study what is good.

—— Movies look like material study notes. (laugh)

Miyazaki

Right. They look like that. I can learn more in western movies than Japanese ones.

—— I see. They may inspire you with a sense of colour. As Ms Katake said, when attractive fabrics are produced, Ms Miyazaki gets inspired instantly when she touches them.

Miyazaki

I think so. I think it’s because I have previous experience with various fabrics. So I get ideas of doing this and that one after another when I watch fabrics.

—— Are you inspired at the that moment?

Miyazaki

Yeah. There are many exciting fabrics right here. This place is truly a treasure trove for me.

—— Ms Katake said that the fabrics of ‘tamaki niime’ are too soft to sew and take time to get used to. She said they have a peculiarity.

Miyazaki

That’s true. They are very, very soft.

—— The challenge is how to make products with them, right?

Miyazaki

Sewing them is like inserting fabrics inside, not sewing while holding them tight.

—— Inserting?

Miyazaki

How can I explain? You have to sew them as natural as possible, not making sharp lines with an iron, but to make them soft and natural.

—— Huh?

Miyazaki

It makes some difference depending on some fabrics, though our materials are generally easy to treat. We treat them as naturally as possible…how can I describe it? I can say that it’s different from folding origami.

—— Well, you don’t make them straight sharp lines?

Miyazaki

If I try describing it, each thread is alive, soft and floppy.

—— Oh, what a great expression!

Miyazaki

That’s how I feel.

—— You try not to force a tight hold then.

Miyazaki

That’s right. If we hold them, the shapes get deformed.

—— The shapes get deformed?

Miyazaki

Yes, they deform if you hold them tight.

—— So it looks like you are speaking with the fabric?

Miyazaki

Oh, yeah, that explains it. (Big laugh)

—— (laugh) I have also heard that Ms Tamaki often has conversations with the looms.

Miyazaki

I chat with fabrics.

—— Do you ask them what they want you to do? (laugh)

Miyazaki

Yeah, I have a conversation like, “can you move closer a little bit?”.

Having a passion for fabrics, she gets ideas to use the natural potential of fabric, not bound by the common usage of sewing; that’s what I feel the Miyazaki style is. Her unique style must be from her many experiences with unknown fabrics in the past and complete sewing knowledge. In her experience, she used to make and sell hundreds of children clothes and coverall-aprons to neighbours and friends at home. Thinking of how they wear and use them, she doesn’t hesitate to add more and more creativity to her production.

Miyazaki

I am aware of ideas daily if I should change this way or this one may need removing because I am wearing them at home.

—— That’s from the viewpoint of women or experience in how they feel when worn.

Miyazaki

Well, they may be just my own thoughts.

—— I think your thoughts are crucial because they are one-item products.

Miyazaki

Well, generally, we aren’t that particular. I wanted armbands on arm sleeves of coverall-aprons because the bulging arm sleeves get in the way when I put my hands in the washer or hold pans. Putting rubber bands on may solve the problem, but I wanted to give them one more touch. (laugh) Hanging armbands look so cute.

—— (laugh) Looking cute is essential.

Miyazaki

That’s right. You know what? Women are aware of cute things instantly! I think that’s essential. They consistently pay attention to cute accessories.

—— You cherish that feeling in those moments when you make something.

Miyazaki

Right! I make various things, and sometimes I don’t know if it’s cute or not. At those times, I have someone see it, and I know instantly by their response how well or bad the product is. So I don’t do anything particularly after their answers, and I just move on to the next.

—— You aren’t dragged down.

Miyazaki

I don’t give up. I just keep going and do things different next time, because I can’t get inspired right now, but I hope to be inspired sometimes. That’s why I leave it.

—— You show your products to see people’s reactions?

Miyazaki

Yes, when I think I made a good one but…I’m not sure if it’s good or not while I make so many things.

—— While you make many, your judgement gets impaired; that’s why you have someone see it.

Miyazaki

Right. I would rather depend on others’ responses than my confidence. Even if I think it’s good…don’t you think?

—— You desire for people to be happy with your products.

Miyazaki

That’s right. That’s all I want. I am so happy to hear people saying, “I want it!”. That’s it!

—— Ms Katake told me you put stitches on ‘Tamafuku cho’ that looks like graffiti. Can you tell me about that?

Miyazaki

I call it ‘sloppy stitches’, which look sloppy but has a good balance. I made some spaces after placing big stitches or made a long line that looked like drawn pictures.

—— It looks like drawn pictures.

Miyazaki

Yeah, we make stitches while thinking up ideas. Sewing staff make stitches with their own ideas. Then I will give them some advice.

—— When you make stitches, you don’t practice?

Miyazaki

Yes, we do it without rehearsal. After getting used to it, we don’t think about it. Oh, yeah, if I buy and get ‘Tamafuku cho’, I would trace the lines of stitches with my fingers in my free time.

—— ?…ah-.

Miyazaki

Go here and there, and then next to that way…

—— (big laugh)

Miyazaki

Don’t you think that?? I really think that’s great.

—— (laugh) That’s very interesting.

Miyazaki

I think some people try tracing. I may think that because we look like we are making roads with the stitches. Some people may trace them while waiting for someone in a daze.

—— They wait while holding ‘Tamafuku cho’ with them.

Miyazaki

It’s just like playing puzzles in our free time. I wonder why we possess that desire to have fun.

—— It must be an absolute desire to have fun.

Miyazaki

When I start sewing, I have an image of where to start and where I should end.

—— You are tracing stitches. It’s funny! (laugh) I could glance inside Ms Miyazaki’s mind. You want to entertain people just like Ms Tamaki does. You two have that in common.

Miyazaki

Well, her scale is much grander. Mine is just about that. (laugh)

—— But your stance on creation is about the same as hers?

Miyazaki

I guess so.

—— It’s not fun if it’s obvious. For example, you want to add spices to creation. Am I correct?

Miyazaki

Yes, that’s why I believe some people want to wear what I want to wear. I want people to wear fabulous outfits.

—— I see.

Miyazaki

Historically, we’ve had flare skirts for a long time. Women want to wear them at least once.

—— Longing for them?

Miyazaki

You can’t imagine how many samples I made for creating that denim skirt. The challenge was to keep the shape, not deforming, when you wear it for a long time. I can’t ask for perfection, though, but the fabric’s peculiarity makes it stretch on the bias* that causes you to reduce other parts’ volume, so how can I balance it all to get an excellent shape?

*It means slanted 45 degrees. We usually cut fabrics vertically, but cutting diagonally is called ‘bias’ or ‘bias cut’. It causes increasing fabric shrinkage and can create a beautiful form-fitting silhouette.


—— Uh-huh.

Miyazaki

So I tried to put patterns here and there, wondering which parts to stretch the most.

—— You went through a trial and error process, and the flare skirt was born, right?

Miyazaki

I may have been too obsessive, but I wanted to look it very beautiful and cool when I put it on. That is my obsession. Not just any skirts will do.

—— You put various elements into product creations, considering how comfortable it is when you wear it and what kind of situations it will be worn in.

Miyazaki

When those ideas come to mind, everything matches up, and the creations speed up to the finish.

—— Many things come to mind at once, wow〜…

Miyazaki

Talking about ‘Dachs’ (*the name of pants), I stored some favourite materials for a half year that I thought were useful.

—— What was your favourite part?

Miyazaki

I wanted to make exciting pants and touched some materials, but I couldn’t make them. When I put those materials down on the desk, I was inspired.

—— You left them for the moment.

Miyazaki

I was inspired by the shape of the materials that I put down. I thought, what if it might be cute!?

—— The shape was accidental.

Miyazaki

Yeah, and I thought I could use this shape on the bottom of the pants design. That’s why the pants shape was designed from the hem.

We opened the online shopping page and checked on ‘Dachs’.


—— They are cute.

Miyazaki

Around the hem is just perfect. The curb and the front side goes back to the other side, and it comes back to the front again, which is very strange. The hem is twisted.

—— Wow…

Miyazaki

I was inspired by this shape when I put down materials. Like, what is it? Even though I had the image in my mind, it was hard to connect with the upper part.

—— They are curved.

Miyazaki

They are twisted, and the front of the left leg goes to the right leg back. It goes this way and that way…looking like the figure eight when you look from the bottom.

—— Oh, I see. It looks like a Möbius strip.

Miyazaki

Oh, yeah! A friend who used to go to dressmaking school with me bought a ‘Dachs’, and she wondered how they work?? So even people who know sewing can’t imitate us.

—— In a way, it’s a very technical method and it’s a fascinating design.

Miyazaki

Yes, it is. When you wear them, you feel symmetrical but squishy and distorted, feeling a lot of fun.

—— When you saw the piled-up materials, you were inspired, right?

Miyazaki

I thought I had to help by using this.

—— Wow〜

Miyazaki

I don’t know what that was. I really don’t.

—— You don’t know… it’s in the territory of art.

Miyazaki

So, it’s not a matter of what kind of products I want to make.

—— It’s incredible that you began with that.

Miyazaki

I just want to see the products I have in my mind and make them. I don’t start with drawing designs, but it starts from a piece of cloth.

—— Isn’t that the same process as Ms Tamaki? In her case, her parents owned a clothing shop, and your parents had a textile factory.

Miyazaki

How do I create? I get inspired in the middle of a conversation with the boss, and I often turn back to my room even before the boss finished talking. I am so rude but working like that, the creation goes faster. Making masks also…

—— That design looks so cool.

Miyazaki

Thanks. Masks need to be fitted. Bias-cut makes materials stretchy and soft. Masks are worn on the face and move freely. When I suggested that the cloth patterns should be cut diagonally rather than horizontally, everyone instantly agreed with my idea.

—— You can share your ideas naturally. I mentioned it as art, but your work is for people because you make clothing, and practicality is essential; I think your creativity is excellent to shape everything. I really had a good time interviewing you.

Miyazaki

No, no, that was a bit of a rambling story.

—— That’s what I liked about it.

Miyazaki

I’m not the kind of person who usually does interviews.

—— I want people to understand many things from your comments, not just explanations.


She is attached to her clothes and shoes that have been carefully used and adapted to her body. She recognizes fabrics peculiarity and considers their life expectancy and changes. I could see her enjoy creating daily, talking with fabrics while cherishing inspirations and playful hearts from her comments. —— Finally, do you have anything you want to do in the future? I know you are enjoying your work a lot now.

Miyazaki

In the future? …Yes, there are, but I don’t want to talk about it right now.

—— (laugh) Mr Yamashita’s answer was the same. He said dreams wouldn’t come true if he mentions it.

Miyazaki

Oh, yeah? I definitely have one.

—— We will know it later, so let’s look forward to it. (laugh)

Miyazaki

(laughs and smiles) …ok.

Original Japanese text by Seiji Koshikawa.
English translation by Adam & Michiko Whipple.