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Ay

Sakosh, Yen/Madoka

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This is a travel sakosh upcycled from a silk fabric called "Isesaki Meisen," which Isesaki City in Gunma Prefecture is proud of. The bright textile will become a point of coordination.

The balance between the elegance of the textile and the vivid colors is very nice. The length of the cord is adjustable and can be worn diagonally. The brand logo is subtly added to the front.

Textile circle/madoka
A lovely textile with a white base and reddish-pink circles.

Size: 16 cm (width) / 20.5 cm (height) / no gusset
width 16cm / height 20.5cm / no gusset / lined
String total length 140cm

Material:
Outer fabric: 100% silk (Meisen)
Lining: 100% silk (tsumugi)

Place of Origin: Isesaki City, Gunma Prefecture, Japan

Care Instructions:
Wash by hand with a mild detergent and rinse thoroughly. After washing, shape the garment without wringing it out and hang it in the shade in a well-ventilated place to prevent wrinkles. Ironing from the reverse side will preserve the texture of the silk fabric. Iron at a low temperature over the cloth to be ironed.

Caution:
Since vintage kimonos are used, stains and dirt are avoided in the production process. However, due to the production process, there may be small stains or scratches on the fabric that cannot be avoided, and we hope you will enjoy them as well, since they appear over the course of 100 years. We appreciate your understanding.

What is Meisen?
Isesaki Meisen was a colorful and fashionable everyday wear for Japanese women in the Meiji, Taisho, and Showa eras. The production process involved 14 processes, each of which was the result of the collaboration of craftsmen specializing in that particular process. Today, production is considered impossible due to aging and shrinking markets. Ay was born to weave rare meisen and local culture into the modern age.

Ay

"Ay" is a cultural brand that unravels, confronts, and transmits spun culture with a new value under the mission of "reweaving culture".

Commitment to Our Products:
"Re-weaving" means adding new value while maximizing existing elements. If a kimono represents 10, we break down the 10 into its components: craftsman, technique, region, thread, loom, dye, division of labor, etc. When we examine each of these aspects, a future comes into view.

Traditional industrial goods, crafted with care, have seen decreased distribution due to a shrinking market. Additionally, there are traditional techniques facing decline due to aging craftsmen, cultures that exist but cannot be produced, and both Japanese and international cultures on the verge of decline.

Our approach is to scrutinize each cultural aspect, understanding why it has been cherished over time. We use the term "reweave" to describe this process. By giving new value to the unwound elements, we aim to grow one into a hundred by reintroducing them to the market in a rejuvenated state.