An echo of nameless threads
- Ikumi is inspired by traditional Swedish weaving
- The environment is a key consideration in her practice
- Her handwoven pieces are made for everyday life
Ikumi Otaki's work blends Japanese aesthetics with Swedish craft traditions, focusing on natural materials and environmentally conscious practices. She trained at the Otsuka Textile Design College in Tokyo and later at the Sätergläntan College of Handicrafts in Sweden. Dyeing and weaving are inseparable in Ikumi's process, as she enjoys exploring how colours and textures interact on the loom. Through her hand weaving practice, she aims to create pieces that naturally become part of everyday life, bringing a sense of delight and curiosity to those who use them. Ikumi is inspired by the traditional textiles she encountered in Sweden, many of them made centuries ago. “I want to be part of the long line of nameless weavers who lived before me,” she says.
INTERVIEW
Sweden’s long, dark winters make home life very important. Decorative crafts and textiles are part of everyday living. I was constantly impressed by seeing textiles woven by non-specialised women that, even after 100 or 200 years, still feel original, delicate and fresh.
During my time there, I studied historical museum archives and worked on projects where we examined fabrics under a magnifying glass to analyse and recreate their techniques. Traditional weaving is full of creative clues, and it continues to inspire me today.
I took the hand weaving Journeyman’s exam, known as the Gesällbrev, organised by the Swedish Handicraft Association. I spent my final six months in Sweden producing the submission piece. After returning to Japan, I learned that I had passed with full marks.
I learned that I have to take things slowly and not aim for perfection. Rather than chasing an ideal, I need to let go and enjoy playing on the loom. I also try not to judge my own pieces too harshly, because it is the person who receives the work who ultimately decides its value.
