Why Did Tsumami-Zaiku Become an "Edo Souvenir"?
The path of a small flower ornament, as told by the owner of Ichirindo
Small flower hair ornaments are common for Shichi-Go-San (a traditional rite of passage for 3, 5, and 7-year-old children) and Coming-of-Age ceremonies. When and where were they made?
Tracing their history reveals how the aspirations of various people — court memories, the splendor of Kabuki, and travelers on the Tokaido road — expanded into these small flower ornaments.
Its origins are in the Imperial Court
Tsumami zaiku (pinched fabric crafts) are said to have originated in the Edo period Imperial Court as delicate and elegant decorations for hair ornaments, combs, and cosmetic boxes.
"It wasn't something everyone had from the start. It was a distant, admired object," says the shop owner.
So how did this coveted item come into the hands of ordinary people?
Kabuki was what spread it to the common people
Kabuki was responsible for spreading tsumami zaiku to the common people.
In the Edo period, Kabuki was the greatest entertainment for people. The attention garnered by admired actors directly set the latest trends. Seeing tsumami zaiku pinned in actors' hair on stage, more and more people wished to wear them themselves.
"The desire to wear the same things as those you admire — that feeling hasn't changed from then to now, has it?" says the shop owner.
This aspiration to "want to wear it" elevated tsumami zaiku into the world of common people. Aspiration created demand, and demand supported the work of artisans. In this way, tsumami zaiku grew from an adornment for a select few into an item accessible to townspeople.
Also, as souvenirs for travelers
From here, the shop owner shared a story, prefacing it with, "This is a little-known fact."
In the Edo period, traffic on the Tokaido road flourished. As many people traveled between Kyoto and Edo, tsumami zaiku becamea popular souvenir for travelers.
The reason for this was that tsumami zaiku was always available.
"They were light and looked good. This made them perfect souvenirs to take home over long distances."
For a long journey home, they were light and didn't take up much space. And they were so beautiful that the recipient couldn't help but be impressed. Few items were as suitable for souvenirs.
What follows is how the ingenuity of artisans blossomed from this.
"As demand grew, artisans racked their brains. They strove for greater beauty and unique novelty. This accumulation of effort honed their skills."
The simple desire to delight people, as a result, enriched the expression of tsumami zaiku — thinking this way, even in the everyday extension of souvenirs, a story of genuine craftsmanship is revealed.
Kyoto was vibrant, Edo was chic
Even though they were both tsumami zaiku, Kyoto and Edo had different preferred styles.
Maiko in Kyoto adorned their hair with dazzlingly vibrant and gorgeous floral kanzashi. In contrast, people in Edo favored a somewhat more subdued, understated elegance.
"Edo people didn't like extravagance. It was more about the sense of 'iki' (chicness, refined style). Like Edo komon (fine-patterned kimono), at first glance it might seem plain, but on closer inspection, it's elaborate. This aesthetic also existed in tsumami zaiku."
The vibrancy of Kyoto transitioned into the understated elegance of Edo as it moved east along the Tokaido road. Within the same flower ornament, the aesthetics of each region are reflected. And that Edo 'iki' quietly lives on in the designs of tsumami zaiku that are still passed down today.
Going further back, to the Heian period artificial flower culture
Tracing the origins of tsumami zaiku even further back leads to the Heian period.
Within the aristocratic culture of "yusoku" (court rituals and customs) of that time, there was a technique called "yusoku zōka" (yusoku artificial flowers) which involved shaping cloth into flowers. In these artificial flowers, the prototype of the petal-making technique can be seen — truly, the idea of expressing flowers with cloth has been passed down for over a thousand years.
"Rather than being 'born' in Edo, it gradually took shape over a long period. Thinking about it that way, tsumami zaiku is truly profound."
Conclusion
From an admired item in the Imperial Court to an ornament for ordinary people through Kabuki. Refined as a souvenir along the Tokaido road, and imbued with the distinct aesthetics of Kyoto and Edo, tsumami zaiku has been passed down through generations.
Within these small fabric flowers, people's aspirations, travel memories, and regional aesthetics are intertwined.
Next, we will delve into the world of "artisans" who continue this history today. We will discuss the reality of the creators behind the dazzling celebratory days, and what Ichirindo preserves.