Hakata-ori first originated in 1241 during the Kamakura Era (1185 - 1333) when Yazaemon Mitsuta, a merchant from Hakata returned from Song Dynasty, China with a Zen Buddhist priest; Enni (Shoichi Kokushi) with a bounty of Chinese weaving techniques including “Karaori (Chinese Weaving)”. This was the beginning of the Hakata-ori story.

Hakata used to be a part of the ancient province of Tsukushi with a thriving trading port. (China is just cross the Japan Sea). From continental Asia, many cultural imports passed through the town, along with exotic textiles. Yazaemon also introduced people to different artifacts and artisanal techniques – crimson glazing, the application of gold leaf, somen noodles and the production of musk pellets. Of all these things that Yazaemon introduced to the people of Hakata, only the textiles and woven goods were incorporated into the region’s culture and tradition. Its weavers have passed down these traditional techniques to the present day, while continually adding their own original touches.

The original Hakata-ori was a thin, narrow band and were used as men’s obi. Gradually, the obi’s width became wider by the Mid-Edo Era (1700s) like we see in present day. Because Hakata-ori was always made with silk threads, they have been regarded as highly precious and valuable items.

The Hakata-ori textiles are unusually thick, compared with other regions’ in Japan. This is due to Hakata-ori’s unique weaving process. Six to fifteen thousand threads are used for the warp, thick threads are used for the weft and are tightly woven into the warp to create a thick and resilient fabric cloth.
There is also a unique quality to the patterns of Hakata-ori fabrics. For example, whereas Kyoto’s Nishijin-ori weaves patterns into the weft, Hakata-ori weaves the patterns into the warp of the fabric. Because of the nature of this weaving method, the weavers create more simple, striped, graded or kenjo-gara patterns. These patterns are created by using hole-punched sheets of thick cardboard called “mongami.” It is the patterns on these cards that input the pattern-weaving data into the looms.
The charm of Hataka-ori is the fact that it is easy to tie and never slacken in shape. When the obi is tightened, the Hakata-ori silk makes its signature pleasant rustling sound.

The “Kenjo-Gara (design)” is a precious and unique design that Hakata-ori offers. The pattern has been inspired by implements used in Buddhist rituals such as the dokko (a metal hammer), hanazara (ritual plate) and also stripes. This kenjo-gara pattern was originally proposed by the monk; Shoichi Kokushi (Enni) who had travelled to Song-dynasty China with Yazaemon. The name kenjo-gara were taken from Nagamasa Kuroda, feudal lord of Chikuzen who ruled over Fukuoka. He chose to include the hakata-ori textiles to the Tokugawa Shogunate as one of the obligatory tribute gift offerings – kenjohin – which is why this particular hakata-ori pattern was then named kenjo-gara.
Easier and more prosperious people’s life became during the Edo Era, more advanced the weaving techniques became . Ordinary people could afford to buy woven textiles, but not the kenjo-gara which was strictly and exclusively reserved only for the Kuroda clan. Only twelve weaving workshops were officially sanctioned by the clan to make this pattern and for this reason, hakata-ori never rose to the same national prominence as other regional textiles such as Kyoto Nishijin silk.

At the beginning of the Meiji Era (1868 - 1912), the sanctions on Hakata-ori and the kenjo-gara were lifted. Common people were allowed to wear these obi. Time passed and Japan moved through the ages, into the Taisho (1912 - 1926), then Showa Era (1926 - 1989).
In post-war Japan, day to day survival became the sole priority, but as the country started to recover in the mid-50s, people had the means to purchase clothing again and the textile industry also recovered. From 1955-1965, Hakata-ori went through a golden age and the number of weavers rapidly increased. But when cars became a commonplace in the mid-60s and 70s and people discovered that it was hard to drive when wearing a kimono, they started to favor western clothing. Then there was a sartorial shift as people stopped wearing kimonos on a daily basis.
The number of women who went to work had increased as well. As a result, women lost the free-time they once had to put on a kimono and tie an obi. This unfortunately shifted their attitude towards kimono.

Customers nowadays demand a higher quality from their daily clothing that expresses and matches their sense of individuality. The weavers are graduating from the standard and uniform designs of the past and moving into a new era where the individuality of a textile weavers’ creations. This is also an important turning point for Hakata-ori.
Hakata-ori textiles are worn throughout the country and prized for their quality. Hakata merchants, who embrace novelty while keeping the tradition are investing to new designs and modern colors for new the generation of people.