Nishijin weaving in Kyoto developed as a luxury textile for kimono, yet sustaining the district requires expansion toward contemporary apparel and markets. Within a silk-centred culture and quality regime, polyester has been adopted as a versatile option, and its use has increased, especially for kimono-related products, partly because its filament form can substitute for silk and fit existing processes. From this trajectory, we explore a craft–code–craft pathway by integrating a biodegradable polyester grade into Nishijin’s code-based Jacquard production (CGS). Through practice-based research, we trace how design intent is encoded (Houdini → CGS → Jacquard) and how shop-floor constraints reconfigure design (Jacquard → CGS → Houdini), revealing institutional constraints that shape which materials become usable. We report three case studies: (A) 3D woven structures informed by pleat parameterisation, (B) a zero-waste garment using a 25 cm repeat logic, and (C) a fashion show that makes translation processes legible to the public in an exhibition context. While biodegradable polyester can fit existing infrastructure, apparel-grade warp use remains under development due to warping and warp-joining requirements; yarn specifications and design parameters are being revised. By foregrounding translation across tools, roles, and standards, the study proposes pathways for material transition and circularity within a craft system.
K. Ueda (Thu,) studied this question.