Located in western Shizuoka prefecture, the Enshu region has long been renowned for the manufacture of cotton textiles. Since the Edo period, the region’s textile industry has developed from local farmers cultivating cotton and making fabrics as a side business to the arrival of spinning mills, power looms and industrial weaving technology.

Among the manufacturers building on this heritage is Furuhashi Weaving, a family-owned business dating back to 1928. Led by fourth-generation head Kaori Furuhashi, the company specialises in high-density fabrics that have been central to the MAN-TLE brand since day one. On a crisp spring afternoon, MAN-TLE founders Aida Kim and Larz Harry sat down with Furuhashi to discuss their ongoing partnership and shared commitment to the design and manufacture of quality products.

During MAN-TLE’s early days, what kind of fabrics were you looking for?

LH [Larz Harry]
The first product we wanted to make was a long-lasting, heavyweight overshirt that would evolve with time. The shirt would become more personal with use because it would relax and fade, changing depending on who was wearing it. We had the loose idea that we should have some kind of unusual, surprising fabric that would capture that, but it wasn't until we found the first paraffin wax-coated fabric from Furuhashi Weaving that everything came together.

AK [Aida Kim]
We were searching for a fabric that felt just right. When we touched that Furuhashi fabric for the first time, we loved the density and texture more than anything.

LH
It also has a kind of smoothness, and the sound it makes when you wear it, when it moves.

AK
We both agreed it was the one.

The wax-coated chambray fabric has been a part of MAN-TLE collections since R1 / Range-1. What is the story behind its creation?

KF [Kaori Furuhashi]
When I joined Furuhashi Weaving in 2013, the fabric had already been in production for a year or two. Its name is Voile Weather: “Voile” comes from the twisting of the yarn; “Weather” means it’s for clothes you can wear at any time. It’s very comfortable in various conditions and has a wax finish.

The wax itself is a mixture of paraffin oil and various solvents, the balance of which is adjusted according to the temperature and humidity. The wax finish used by MAN-TLE has been specially developed and the recipe has been fine-tuned over the years, incorporating feedback to enhance its performance.

Before MAN-TLE, no brand had ever used the fabric for shirts, so I was really surprised when I first heard your plans. We don’t really think about end use when designing fabrics, it’s simply fun to create things that don’t yet exist. This particular fabric was mainly used for bags, hats and other small items, which took advantage of its stiffness and form-holding capacity.

There is value in weaving the fabric on the vintage shuttle looms in our factory. The machines went out of production around 50 years ago and have been altered to make high-density textiles that many other factories find hard to produce. The addition of what we call kyonenshi (strong twist yarn) results in a truly original product.

How has your use of the fabric evolved since that first collection?

LH
The fabric was used for garments in R1 but we found the coating wore in quicker than expected. By R3 we pushed for a very heavy wax, which made the garment less comfortable when new. Nowadays MAN-TLE has its own version of the wax that is comfortable throughout the year. It can be enjoyed without washing or washed many times, but the special character remains.

I think we have also gotten better at combining fabrics with shapes. In R1 we cut classic-fitting shirts and trousers from the wax cloth, and recently we have been cutting looser, block-like shapes that sit off the body. The movement of air within wax garments makes for a more wearable product.

We like the way the wax cloth ages, growing softer but retaining its paper-like texture. There’s a beauty in the random wax lines that appear on the surface through washing. The adjustments made to the wax over time have highlighted these characteristics.

AK
It's like the beauty of raw metal changing colour and gaining character over time — it creates a more personal connection. Materials should be chosen while considering the purpose of the garment. When used for everyday clothing, this fabric ages with unique character and having enjoyed that journey ourselves, we want to share it with our customers.

We’ve always done a lot of testing, which aids the development of the fabrics we use, but there’s also the information we gain from wearing things for years, seeing how they perform in daily life. For our core items, producing the same shape in the same material allows us to continue to iterate and refine the fabrics and how they are used.

Given that the fabric had not been used for clothing before, did any challenges arise?

KF
It seems like this kind of fabric should be sewn at a jeans or denim factory.

LH
Denim sewing techniques — twin or triple needle — are normally used for heavy fabrics. The machinery and skills are different to those used for shirts, and the finish always ends up looking like workwear. We didn’t want our shirts and pants to look like workwear, we just wanted them to feel like it. Although this fabric feels strong, it’s not like denim or twill, so it wasn't so much about performance or longevity. We describe our products as “lifelong” because if you look after them, they will last a very long time.

What were your initial impressions of the Furuhashi Weaving factory?

AK
At the start, we didn't know much about the making of this type of fabric, so the first step was discovery. Kaori made the processes accessible, explaining what was happening at each stage. The machinery is special and it was fascinating to see all the care and work put into their textiles.

LH
As we visited more mills, we started to understand the processes and got even more excited about what we were doing. We soon realised that process was the important part and began prioritising how the components of each garment were made.

Kaori, do you often work with small, independent brands?

KF
I'm the fourth-generation representative director of Furuhashi Weaving and took over the company from my father, who began selling original textiles directly to brands. Ever since those days, our company has sought to nurture young designers, especially within Japan.

If our philosophy resonates with the brand, when they decide to produce something original, even if it’s only a small lot, we work together to support and help them grow.

How does your use of vintage shuttle looms influence production?

KF
First of all, working with shuttle looms is a real challenge. These days, most looms are computer-controlled and weaving can be done by simply following the instruction manual. On the other hand, our machines are completely analog, to a point where even the tightening of a single screw can affect the fabric and potentially halt production. We’ve stuck with shuttle looms as a point of difference, modifying the machines to produce the high-density textiles that have become our focus.

Through your partnership, what has stood out about MAN-TLE’s approach to design?

KF
The combination of colours. They come up with colours in a completely different way to Japanese designers, so working together is a lot of fun. Around 10 percent of our business comes from overseas, but it’s rare for a customer to customise so much. Also, Japanese designers tend to use stock fabrics, so they don’t often request original ones.

LH
I remember we sometimes used a stock colour, but when we wore it for a few months, we felt like it wasn't enough from the heart. It's funny because we didn’t discuss it, there was just something about it.

AK
To add some originality, we believe we have to work hard on the details. There are so many fashion designs and brands out there, so every single thing should be special, from the balance of the garment to the fabric, buttons and tapes. These things became part of MAN-TLE and now we can’t live without them.

As a growing brand, we’re always searching for fabrics but we come back to Kaori because she not only has the right type of fabrics, but ideas and opinions about things we haven’t even thought about. There’s lots of dialogue and it’s a very cooperative way of working.

How would you describe the Furuhashi Weaving way of making?

KF
Our company has many young employees, which is quite rare in the weaving industry. There are differences in each generation’s way of thinking, but as someone in their thirties who previously had a corporate job, I feel that this industry is completely different to others. There are low wages and a lack of successors, which can make it a challenging environment to work in, but I am always thinking about ways to create a workplace where young people feel comfortable expressing their opinions.

Each staff member takes on at least two or three roles and while the day’s work is planned, they have to think on their feet, rather than follow some kind of manual. Everyone is really strict when it comes to manufacturing and so even if there’s a single defect, they will stop the machine immediately to make adjustments or perform maintenance. We’re all aware of the fact we’re pursuing high-value outcomes, so there’s a sense that nothing should go to waste.

As a brand you've put a lot of effort into working closely with craftspeople, workshops and factories in Japan. Why are these makers so important to MAN-TLE?

AK
The concept of craft was not something we set out to talk about from the start. We found fabrics in Japan and decided it was economical to sew them there. Our business first came about in Japan and due to the natural care and pride taken in work here, craftsmanship was not a novel idea, but just something that existed. It's an important part of MAN-TLE because it guarantees the quality of our products. It has continued to be a part of our story because the Japanese makers we work with are supportive of us and proud of their work.

Finally, having worked together for a decade, what makes this relationship so special?

KF
We began working together not long after I joined the company in 2014, so while it may sound presumptuous, I feel as though we've grown together. There have been failures and times when things haven't gone to plan, but we've been able to work together to overcome those challenges.

The special colours and patterns that MAN-TLE creates every season makes working on the fabrics a stimulating, enjoyable and rewarding experience. Many of our customers work with monotone or understated colour palettes, so MAN-TLE fabrics really stand out during production. Our days are spent working with thin, delicate threads that demand a lot of attention and within that monotonous work environment, MAN-TLE is like a vitamin energy boost. MAN-TLE's iconic use of colour, combined with Furuhashi Weaving's signature textiles, has given the brand a unique presence in my eyes.

LH
I agree. I think that through the open collaboration between Furuhashi Weaving and MAN-TLE, and a willingness to accept challenges and learn from one another, we have created something special that we are proud to use and wear every day.

AK
Furuhashi gave us the ability to express ourselves through colour and texture. Working together on every collection for almost ten years shows how special this relationship is. The waxed Voile Weather cloth has definitely became our iconic fabric.

by Ben Davis