Japan · Textile Arts / Weaving

Sakiori Rag-Weft Weaving

裂織 (sakiori; saki = tear, ori = weave); regional variants of the word include sakkori, sakkuri and zakkuri; related terms zuzure and boro in some districts

A way of weaving in which worn cotton cloth, usually old kimono, is torn or cut into thin strips and used as the weft, with a hemp or other bast-fiber warp (cotton or silk in later work), on a loom to make thick, warm, durable cloth. It grew in the snowy north of Japan, where cotton could not be grown and secondhand cotton arrived by coastal ship, and it was made for work clothes, vests, aprons, obi, bedding and kotatsu covers. Weavers in the Sea of Japan and northern Honshu districts used it most, but scholars note it was not exclusive to Aomori. It is now being revived as an upcycling technique in sustainable fashion.

Risk level: Vulnerable as a utilitarian tradition (replaced by cheap manufactured cloth after World War II); revived by preservation societies and fashion · Not inscribed

Alternate Names
Rag weaving; rip weaving; torn-cloth weaving; Nanbu sakiori (Aomori), CRAFT-2956
Geographic Center
Northern Honshu and the Sea of Japan coast, especially Aomori (Nanbu) and Akita; also Gunma (Kiryu, silk-warp obi weaving) and other districts
Community / Ethnic Group
Japanese farming, fishing and logging households; weaving was women's work
Estimated Origin
Spread in the Edo period (1603–1868) after cotton reached Japan and secondhand cotton moved north on Kitamae-bune ships. Scholars date its rural use differently: from about the mid-18th century (Western Sakiori), to the mid-19th century when cotton rags reached the far north (Veale, Skidmore thesis), through the mid-20th century. Bast-fiber weaving in Japan is far older.
Cultural Function
Thrift and reuse of precious cotton; warm clothing and bedding in cold regions; cash income from obi in the off-season in Nanbu; the saying 'don't throw away any cloth that can wrap three red beans' captures the attitude; today a symbol of sustainability
Primary Materials
Torn strips of used cotton (often indigo-dyed kimono) as weft; bast-fiber warp such as hemp, wisteria, false nettle or linden in older work; cotton warp in later work
Primary Tools
Loom, traditionally the ground loom (jibata), woven about 33–36 cm wide; shuttle with wooden bobbin; scissors
Process Overview
Unstitch old garments → tear or cut strips → wind weft → warp the loom → weave → make into obi, vests, aprons, bedding or contemporary goods. One Kiryu weaver took about a month to weave 10 meters of 31 cm silk-warp cloth.
Traditional Applications
Work clothes, jackets, vests, aprons, obi, bedclothes, kotatsu covers, rugs
Contemporary Applications
Upcycled fashion, obi from clients' old kimono, bags, slippers, tapestries
Notable Practitioners
Takamitsu Orimono, Kiryu, Gunma (fourth-generation weaver Takahashi Yasuro, certified Traditional Weaver of Kiryu cloth, who weaves clients' old kimono into obi); Nanbu weavers named in CRAFT-2956
Key References
M. Dolden Veale, 'An Aesthetic of Resourcefulness: Japanese Folk Textiles from the Edo Period and Beyond', Skidmore College MALS thesis (2015), https://creativematter.skidmore.edu/cgi/viewcontent.cgi?article=1118&context=mals_stu_schol ; Fine Arts Museums of San Francisco, 'The Necessity of Resourcefulness: Lessons from Traditional Japanese Textiles' (2021), https://www.famsf.org/learn-engage/read-watch-listen/the-necessity-of-resourcefulness-lessons-from-traditional-japanese-textiles ; Fukushima Chitsuko, 'How rip weaving spread in Japan: Interpreting maps of words and referents' (2023) ; Yoshiko Iwamoto Wada, 'Boro no Bi: Beauty in Humility' (2004) ; IFFTI conference paper, 'An attempt to create a new value of traditional Japanese cloth: sustainable clothing design using sakiori weaving', https://iffti.org/downloads/iffti-publication/annual-proceedings/ntu/191-202.pdf ; Western Sakiori, 'What is Western Sakiori?' (2013), https://westernsakiori.com/what-is-western-sakiori-part-1/ ; Aomori Prefecture, 'Nambu Sakiori', https://www.pref.aomori.lg.jp/soshiki/sangyo/chikikigyo/aomori_dento-kogei_nanbusakiori.html
Verification Status
Desk-Researched

More from Japan

  • Oshima Tsumugi Mud-Dyed Silk WeavingDyeing & Surface Design · Endangered

    Ōshima Tsumugi (大島紬) is the luxury silk weaving tradition of Amami Oshima Island, Kagoshima Prefecture — the most expensive silk textile in Japan and one of the most technically complex textile traditions in the world.

  • Okinawa Bingata Stencil DyeingDyeing & Surface Design · Critically Endangered

    Bingata (紅型 — crimson/abundant pattern) is the royal court textile dyeing tradition of Okinawa (formerly Ryukyu Kingdom) — the only Japanese regional dyeing tradition with a distinct non-mainland origin: Bingata reflects the Ryukyu…

  • Urushi Lacquer Sap Harvesting (Kaki-oshi)Lacquerware · Critically Endangered

    Urushi-kaki (漆掻き — lacquer scraping) is the practice of harvesting urushi sap from the Toxicodendron vernicifluum lacquer tree — the raw material for all Japanese lacquerware (CRAFT-0460, 0468, 0471).

  • Koto Making (Koto-shi)Musical Instruments · Critically Endangered

    The koto (琴/箏) is Japan's national instrument — a 13-stringed zither 180cm in length produced from paulownia (桐 kiri) wood.

  • Kokeshi Wooden Doll MakingMask, Puppet & Costume · Vulnerable

    The lathe-turning and hand-painting of kokeshi, limbless wooden dolls with a cylindrical body and round head, made by kijishi — woodturners of Japan's Tohoku region who otherwise produced bowls, trays, and household utensils — who began…

  • Tamba-Tachikui Ware (Tamba-yaki)Ceramics & Pottery · Endangered

    Tamba-Tachikui-yaki (丹波立杭焼) is one of Japan's Six Ancient Kilns — producing unglazed or naturally-ashed stoneware continuously for 800 years in Tachikui village, Hyogo Prefecture.

All techniques in Japan →

Related weaving & textiles elsewhere

  • Bielefeld Linen WeavingGermany · Endangered

    The linen weaving tradition of Bielefeld and the Ravensberger Land — the North Rhine-Westphalian linen production region that was Germany's most significant linen cloth manufacturing center from the medieval period to the late 19th…

  • Limbu Backstrap Weaving (Eastern Nepal)Nepal · Critically Endangered

    Limbu backstrap weaving is the textile tradition of the Limbu people of far eastern Nepal (Taplejung, Panchthar, Ilam districts) — producing the yangdang (wrap skirt) with supplementary weft geometric patterns in red, black, and white on a…

  • Tibetan Loop-Pile Carpet Weaving (Nepal Tradition)Nepal · Endangered

    Tibetan carpet weaving in Nepal is maintained by Tibetan refugee communities in Boudhanath and Jawalakhel using the Tibetan loop-pile technique: a temporary rod laid across the warp, wool looped around both warp threads and rod, cut along…

  • Poncho Para'í de 60 Listas (Piribebuy)Paraguay · Vulnerable

    The Poncho Para'í de 60 Listas — woven in sixty fine alternating stripes on a traditional loom — is the defining handmade garment of Piribebuy, Cordillera Department, and its ancestral, traditional manufacturing techniques were formally…

  • Nepalese Dhaka Textile WeavingNepal · Endangered

    Nepalese Dhaka is a fine cotton supplementary weft weave from Terhathum District, eastern Nepal — distinct from Bangladeshi Dhaka muslin.

  • Saltillo Sarape WeavingMexico · Endangered

    A wool wearing-blanket tradition developed when Spanish colonial authorities resettled Tlaxcalan weavers to Saltillo, Coahuila, in 1591, combining pre-Hispanic backstrap-loom textile knowledge with Spanish-introduced treadle looms and wool…

All weaving & textiles techniques →