藍染職人、大城拓也が染めあげた伝統の琉球藍の色を、唐長12代目の千田優希（誠次）が唐紙のうえに再現。唐長に受け継がれる「角つなぎ」の文様をのせた。

The Ryukyu-Ai color by Indigo dye artisan, Takuya Ohshiro is reintroduced on Karakami paper by Seiji Senda, the 12th generation descendant of Karacho. Karacho’s traditional pattern ‘Kaku-tsunagi’ is used for this special fabric.

デザインのベースとなるこの唐紙をシャツに生かすため、紙作家の明松政二が腕を振るう。唐紙の特徴である「キラ」を漉き込み、青くキラめく和紙が生まれた。

The paper artisan, Seiji Kagari, employs the full power of his artisanship into this Karakami-paper that is the base design for this shirt. The blue sparkled Japanese paper is made with Kira that is unique to Karakami-paper.

文様部分に使われる明松のキラ和紙を、布へと変身させたのが、世界的なテキスタイル会社、NUNO。和紙と布が一体化した、世界に一枚だけの布が完成した。

The world famous textile company, Nuno, provided Kira Japanese paper by Kagari that is used to merge the pattern into the fabric. The only such fabric integrated with paper is here.

陶芸家、安里貴美枝による琉球藍をイメージした繊細な陶器のボタンと、琉球漆器の伝統を受け継ぐ漆職人、森田哲也による重厚な琉球漆のボタン。

Delicate pottery buttons inspired by Ryukyu-Ai by Kimie Asato, the potter, or the opulent Ryukyu-urushi (Ryukyuan lacquerware) buttons by Tetsuya Morita, the traditional Ryukuan lacquerware artisan come with the shirt.

縫製は、高級ブランドや有名セレクトショップのシャツを請け負うリオ・ビアンコ。手縫いを交え、職人の手から生まれた素材を美しいシャツに仕上げた。

Sewing by Rio Bianco, a company that produces shirts for high fashion brands and famous select shops. In addition to sewing by machine, their artisans give life to this beautiful shirt with their skill in hand sewing.

京都 二条城の修復工事におけるすべての唐紙を製作。その他にも、京都迎賓館の唐紙製作や、国宝、重要文化財等建築、絵画修復等に携わる。唐長の伝統と技の後継者として唐紙の美を守る一方、ホテルの建築プロデュースや店舗デザインなど唐紙を活かした空間を提案し続けている。

Created all the Karakami-paper for the Nijo castle in Kyoto for its restoration. Also participated in the creation of Karakami-paper for the Kyoto State Guest House, for the restoration of National Treasures and Important Cultural Property structures and for Japanese paintings. He preserves the beauty of Karakami-paper as the successor to Karacho’s traditions and techniques and also utilizes Karakami-paper through his creation of hotel and store designs.

1949年大阪府泉佐野市生まれ。1982年大阪で紙漉工程を学び、和紙作家として泉佐野市に紙漉場を設ける。

Born in Izumisano-shi, Osaka, in 1949. He learned the art of paper manufacturing in Osaka in 1982 and established his own paper mill in Izumisano-shi.

1984年NUNO設立以来、日本各地に残る染織産地で新しい素材、技術を組み合わせ独創的な布地をつくり続け、製作した布地の数々は、世界各国の美術館に永久保存されている。伝統的な染織技術と現代のテクノロジーとが融合した「現代の布」づくりを目指している。

From the establishment of Nuno in 1984, she has been creating unique fabrics through dyeing and weaving production in districts all over Japan, employing new materials and techniques. Many of her fabrics are permanently preserved in museums all over the world. She’s trying to create “Modern Fabrics” through the integration of traditional dyeing and weaving techniques with modern technology.

沖縄県南風原町生まれ。戦後琉球絣の復興と発展に尽力した巨匠、大城廣四郎の孫で、琉球藍染と絣の後継者。

Born in Haebaru-cho, Okinawa prefecture. The grandson of Master Koushirou Ohshiro who devoted his life to the revival and growth of Ryukyu-Kasuri (Ryukyuan dye patterns) and is the successor of the Ryukyu-Ai dye and Kasuri traditions.

沖縄の伝統工芸の１つ、壺屋焼に伝わる唐草文様を、白地に藍色のおおらかなアラベスク文様へと発展させた。

She incorporates the traditional Karakusa-pattern (arabesque pattern) in Tsuboya-yaki (Tsuboya ware) a blue progressive arabesque pattern on a white base.

滋賀県出身。2004年沖縄へ移住。首里城外壁漆塗装修復事業に従事。現在、沖縄県工芸振興センター漆芸課講師。

Born in Shiga prefecture. Moved to Okinawa in 2004. Participated in the restoration of Shurijou’s (Shuri-castle) lacquer painting on the bailey. Currently a lacquer art lecturer at the Okinawa Crafts Promotion Center.