Japanese weaving breaking boundaries

Satoka aims to shed light on weaving through using old techniques for new purposes
She trained under Living National Treasure Sonoko Sasaki
She brings back to life waste materials that are too fragile to upcycle

Satoka Abe is a weaver specialising in nuitori-ori, a weft embroidery weaving technique. She majored in traditional dyeing and weaving at Otsuka College of Textile Design and graduated from Kyoto University of the Arts, where she obtained a master’s degree in craft design. In 2011, Satoka completed her apprenticeship in tsumugi weaving under the mentorship of National Living Treasure Sonoko Sasaki. With a strong foundation in traditional weaving techniques, her recent works reflect a desire to expand the possibilities of weaving and showcase its full potential. "Each project of mine is based on a proposal for new designs and concepts, along with research into new materials. I seek to break down boundaries between disciplines," Satoka says.

Satoka Abe is an expert artisan: she began her career in 2011 and she started teaching in 2023

Discover her work

Discover her work

Nuitori-ori kimono Sayo

Towel Composition A

Nuitori-ori kimono Chō yo Hana yo

Chu-hi-cha tea mat

Sute-mimi chair cushion

INTERVIEW

In high school, I had a vague interest in mastering a craft. While exploring different forms of craftsmanship in the library, I found one book about Okinawa's beautiful weaving and dyeing traditions. I became fascinated by how textiles can convey women's history.

Before the Meiji Era's dramatic modernisation in Japan, the notions of design and craft were not distinguished – they were separated only after this transformative period. The degree in craft design aims to bring together these notions and explore ways to create pieces that are adapted to modern life.

When I started weaving, my focus was on mastering the techniques I use. However, after years of training as a weaver, I became inspired to experiment with new materials and work with people from different fields. I believe that bringing crafts together can benefit and enrich everyone.

While visiting a textile factory, I discovered that some waste materials were too fragile to upcycle. To render them usable, I revived a traditional twisting tool called komayori. I find it important to adapt the materials we use to reflect today's values.