Product Description

Handcrafted in Japan from a vintage silk fukuro obi, this one-of-a-kind structured tote reinterprets a formal kimono textile for contemporary use.

Gold and copper-gold rangiku chrysanthemums unfold across both sides over a rich purple ground.

The clean, structured form allows the woven textile and its pattern placement to remain the focus.

Why It’s Special

• Vintage obi silk: Vintage fukuro obi (100% silk with metallic threads)
• Motif and palette: Gold and copper-gold rangiku chrysanthemums unfold across both sides over a rich purple ground.
• One of a kind: Handcrafted in Japan as an individual piece from a selected section of vintage textile.

Dimensions

Height: 21 cm (8.3")
Width (top): 29 cm (11.42")
Width (bottom): 19 cm (7.48")
Depth: 10 cm (3.9")

Materials & Construction

Outer: Vintage fukuro obi (100% silk with metallic threads)
Design: Gold and copper-gold ran-giku motifs on a rich purple ground
Handles: Unused deep-gold vintage obijime cords made from 100% silk
Lining: Original silk satin fabric from the same vintage obi
Structure: Full firm interfacing throughout
Base: Inserted board for extra stability
Closure: Magnetic snap closure
Inner pocket: One compartment sized for phones or cards
Tag: Individually color-matched from nearly 100 shades of premium Japanese leather, then hand-branded one by one

Behind the Craft

Each bag is created through a cross-generational craft process.

Ayako, a couture sample seamstress with over 40 years of experience, leads the making. Yuko, trained in kimono and luxury fur tailoring, advises on textile handling. Ayuko, the brand founder and former corporate consultant, designs each piece by translating Japan’s tacit artisanal knowledge into structured modernity.

The result is a small-batch object that preserves the character of vintage Japanese silk while giving it a clean, contemporary form.

Notes on Vintage Textiles

As the obi is vintage and the obijime is an unused vintage item, minor age-related marks, gentle storage wear, or subtle weaving irregularities may remain. These characteristics are considered part of the textiles’ history and authenticity.