While printing technology has advanced rapidly in recent decades, Ihara Senko Co., Ltd. continues to rely on a much older technique: hand-dyeing with stencils using paste made from mixed pigments. It’s a hands-on, analog process that defies automation.In the mixing room, colorful test cloths pile up. In the back, an entire wall is filled with preserved stencil plates — each one a record of past work. Even without a single word, the layers of history and expertise are undeniable.

We spoke with Mr. Kiyoshi Toriumi, the 3rd generation, head of the company, about what it means to work with color — and why this tradition still matters.

“I think color made by hand has more depth than what machines can do. We blend five or six dyes using just our hands and eyes. The challenge is, not everyone notices the difference. There are lots of cheaper machine-dyed fabrics.

When something is truly well made, the color just feels right. I thinks that it’s the same with glasses? the color and shape fit naturally.”

“I once worked with an artist, and no matter what I did, he kept saying, ‘It’s not right.’So I finally asked him, ‘What exactly is wrong with it?’
And he said, ‘All my paintings have a touch of madder red. When you add that, the colors gain weight.’I tried adding madder red to what I had been mixing — and just like that, he approved it.
That really stuck with me. Ever since, when a color feels too flat, I’ll try adding a bit of madder red.”

“It’s heavy labor. Not many people want to do it.
Each printing table is 27–28 meters long, and we have four of them. That’s over 200 meters. If a design uses 20 stencils, that’s 20 trips back and forth. It’s exhausting.Still, I haven’t quit. I keep saying I’ll stop, but I don’t. Maybe it’s because our customers are still with us.”

“Some people understand it right away. But in a department store, people ask, ‘Why is this so expensive?’

If someone explained the process, it would sell. No doubt.

That’s why I hope our collaboration with EYEVAN helps more people discover the value of hand stencil dyeing.”

“We don’t comment on the design. That’s the client’s role.But the color — we make sure it’s exactly right.”

“I think what really matters is just sticking with it — whatever it is.
Back when I was a student, I didn’t know anything about art. To be honest, I didn’t even like it.
So I never imagined I’d end up in this kind of work.

But I kept going, learning from teachers who had exhibited at Nitten (the Japan Fine Arts Exhibition), and from their apprentices too.

And now, after all these years, I finally feel like I can talk about color with some confidence. That’s what matters most, I think — just keeping at it.”
“I never really thought it was that hard. I had nothing of my own — I just kept going, helped by many people.

This company survived thanks to those around us. It’s all about mindset. I’ve lived through relationships — not hardship.”