The World of Kumihimo and Sageo Craftsmen: Techniques, Materials, Dyeing Processes, and Modern Demand for Sword Braiding Artisans

Kumihimo-shi: The Cord Craftsmen Supporting Sword Fittings

The beauty of the Japanese sword does not rest solely in the blade surface (hada) and hamon. The sageo hanging from the scabbard, the tsuka-ito cord binding the handle, the belt cord passed through the obi—these braided cords support the aesthetic harmony of the entire koshirae (sword mountings). The specialist craftsmen who create these are called kumihimo-shi, occupying a unique position within the ecosystem of sword-fitting artisans.

Kumihimo-shi often create not only braided cords specifically for swords but also a wide range of cord products such as those for obi, bags, garments, and shrine and temple decorations. However, braided cords for swords require specifications tailored to specific purposes (iaido drawing techniques, formal wear, and practical carrying), making collaboration with other sword-fitting artisans (tsukamaki craftsmen, scabbard makers, and so on) essential. How well the colors and patterns of the braided cords harmonize with the colors and designs of the scabbard and handle greatly affects the overall impression of the koshirae. Therefore, clear communication between kumihimo-shi and other sword-fitting artisans significantly influences the quality of the finished product.

The Craft of Kumihimo-Making: The Art of the Kumidai and Cord Interweaving

At the heart of kumihimo-making is a specialized tool called the kumidai (braiding stand). There are several types of kumidai, each used to create braided cords with different structural patterns.

• Maruo-dai (round stand)
• Kaku-dai (square stand)
• Taka-dai (tall stand)
• Aya-take-dai (patterned bamboo stand)

The simplest braided cord is the "8-strand braid," made by interweaving eight silk threads, known as a beginner-level technique. In contrast, high-quality braided cords for sword sageo and handle wrapping employ complex structures using 16, 32, 64, or more threads. As the number of threads increases, the braiding becomes more intricate and uniform, with improved texture, luster, and strength.

During the braiding process, the weight of the kumidai creates tension on the threads as the craftsman's hands rhythmically cross them in a controlled pattern. Within this seemingly repetitive motion lie three complex variables: the number of threads, the crossing pattern, and tension control. Mastery requires several years or more of experience. If the tension is uneven, the braiding becomes loose or twisted, and the cross-section of the finished cord becomes distorted. Expert kumihimo-shi achieve uniform, tightly packed braids with consistent luster on the surface. This uniformity serves as the standard for judging the quality of the finished product.

Material Selection: From Pure Silk to Modern Fibers

The primary material handled by kumihimo-shi is "shoukuen" (pure silk)—that is, pure silk thread. Silk thread has long been regarded as the highest-quality material for braided cords due to its luster, suppleness, and excellent dye receptivity. In particular, the texture of the finished cord differs between "raw silk" (kiito) and "twisted silk" (yoriito), and they are selected according to the intended use.

Both natural dyes (indigo, madder, and amur cork tree, among others) and synthetic dyes are used for dyeing. Dyeing with natural dyes is time-consuming and labor-intensive, but the deep color tones and the beauty of aging are qualities that synthetic dyes cannot replicate. Indigo-dyed sageo undergo distinctive fading and changes in character through years of use, appreciated by enthusiasts as the "beauty of a well-used tool."

In modern times, braided cords made from synthetic fibers (polyester and nylon) have become widely available. They excel in durability, uniformity, and low cost, and are used for iaido practice and mass-market sword-fitting products. However, their luster, feel, and color fastness after dyeing are considered inferior to pure silk, and from an aesthetic standpoint, silk remains the preferred material. When distinguishing between pure silk and synthetic fibers, the change in sheen depending on the angle of light and the difference in suppleness and weight when held in hand are reliable indicators. Synthetic fibers offer uniform color and superior durability, but they do not develop the aging characteristics seen in pure silk.

Special Specifications for Sword-Fitting Braided Cords

Braided cords used in sword mountings require special specifications different from ordinary braided cords.

Sageo requires specific thickness and strength to pass through the scabbard's "sageo-toshi" (sageo passage) while maintaining an appropriate length that does not interfere with drawing techniques (roughly 5 shaku—approximately 150 cm—to 160–170 cm). Schools of martial arts often specify the length, thickness, and color, and when a teacher designates these parameters to a student, they are observed strictly.

Handle-wrapping cord (tsuka-ito) is a flat-braided cord used to wrap the handle over the ray skin (samegawa), requiring both frictional grip properties and durability for long-term use. The width, thickness, and density of the braiding of the tsuka-ito determine the quality of the finished wrap and its practical functionality.

Choosing and Caring for Sageo and Tsuka-ito

When selecting braided cords for sword fittings, purchasers often first face the choice of color and material combination. The color of the sageo should be selected based on harmony with the scabbard's lacquer color and the tsuka-ito color. Subdued tones such as black, navy, and brown are easy to coordinate with any scabbard color and are considered the standard choice for first-time orders. However, some schools and dojos have specified colors, so when using cords in iaido practice or similar contexts, it is advisable to confirm the customs of your organization before placing an order.

Braided cords are consumables and gradually show wear, fraying, and fading with use. To maintain their beauty for a long time, the basic practice is to remove sweat and moisture after use before storage and to avoid direct sunlight. In particular, braided cords dyed with natural dyes are prone to fading from ultraviolet exposure, so careful storage directly affects how long the cord retains its finished appearance. When significant wear becomes apparent, it is possible to replace only the sageo or tsuka-ito while preserving the scabbard and handle, and consulting with a sword-fitting shop or kumihimo-shi will yield advice tailored to the individual condition.

When ordering, there are two options: selecting from ready-made products or commissioning a kumihimo-shi to create a custom order specifying color, length, and braiding pattern. Custom orders allow for the reflection of school regulations and personal preferences, though it is important to note that completion requires a certain period of time.

Contemporary Demand and the Succession Problem

Demand for sword-fitting braided cords fluctuates in conjunction with overall trends in the sword market. While growth in the iaido practitioner population sustains domestic demand, demand from overseas collectors and foreign iaido practitioners is also increasing annually, with some kumihimo-shi now accepting orders in English and Chinese.

However, the succession problem is serious. While hand-made kumihimo production using the kumidai has been partially replaced by machine production, high-quality braided cords for sword fittings remain achievable only through skilled craftsmanship. Apprenticeship requires a minimum of 3–5 years, and achieving stable income takes even longer. Currently, only dozens of craftsmen nationwide work as kumihimo-shi specializing in swords. Technology transmission requires the guidance of a master who can comprehensively teach everything from thread selection and dyeing to tension control in braiding, and finding such an apprenticeship position is said to be a major barrier to ensuring succession.

The craftsmanship of kumihimo-shi is an important artisanal skill that affects the aesthetic completeness of the Japanese sword. Within sword culture, where attention tends to focus on the blade and scabbard, we must not forget that understanding and support for these craftsmen—who work "behind the scenes"—are essential for the transmission of Japanese sword culture as a whole.