Fumika Tani is a Japanese textile artist and MA Textile Design candidate at Chelsea College of Arts, London, graduating in 2025. Rooted in the philosophy of Mingei, her practice reimagines the endangered Japanese weaving tradition of Kasuri through British wool, natural dyes and materials drawn from her current life in the UK.
Before relocating to London, Tani worked within the traditional textile industry in Kyoto, where she witnessed both the richness of inherited craft knowledge and the fragility of its transmission. This experience continues to inform her work, leading her to question how traditional techniques can remain alive within contemporary society.
Working with food waste, everyday remnants and plants such as woad and weld, Tani develops subtle, layered tones that transform overlooked materials into textiles of memory and renewal. Bridging cultures, landscapes and material histories, her ongoing series TSUGI reflects on ideas of connection, inheritance and continuity. Rather than approaching tradition as something fixed or merely preserved, she proposes that its survival depends on adaptation, relevance and continued use.
Are you self-taught, or did you undertake formal artistic training?
I undertook formal training in textile design, completing an MA in Textile Design at Chelsea College of Arts in London. Prior to this, I also worked within the traditional textile industry in Kyoto, Japan. This combination of academic study and hands-on industry experience has shaped my understanding of both contemporary design and traditional craft practices.
How would you define your visual language or conceptual approach?
My visual language is rooted in the Japanese weaving technique of Kasuri, characterised by soft, blurred patterns that emerge through resist-dye processes. I reinterpret this traditional aesthetic through contemporary materials, particularly British wool and natural dyes derived from food waste. Conceptually, my work explores how materials carry memory and how craft can evolve across cultures and environments.
Can you describe your creative process from conception to completion?
My process begins with material collection and research, often sourcing dyes from everyday sources such as used tea, coffee, or food waste. I then experiment with colour and sampling, testing how materials respond through dyeing and weaving. The final stage involves constructing the textile through hand weaving, where patterns gradually emerge. I see the process as iterative, with each stage informing the next rather than following a fixed outcome.
Does narrative, symbolism, or storytelling play a role within your work?
Yes, storytelling plays an important role in my work. Each material carries its own narrative, whether it is food waste from daily life or traditional plant dyes with historical significance. Through the series TSUGI, I explore ideas of connection, continuation, and inheritance, considering how cultural knowledge is passed on and transformed over time.
Which artists have most influenced you historically or contemporarily, and why?
I am deeply influenced by the philosophy of Sōetsu Yanagi and the Mingei movement, which values beauty in everyday objects and anonymous craftsmanship. This perspective has shaped my understanding of textiles as both functional and meaningful. I am also inspired by contemporary textile practitioners who explore sustainability and materiality, particularly those who work with natural dyes and slow processes.
What personal, cultural, or environmental influences shape your practice?
Growing up in rural Kyushu, Japan, in a family of fruit farmers and beekeepers, I developed a strong connection to natural materials and seasonal cycles. Later, working in Kyoto’s traditional textile industry exposed me to both the richness of craft traditions and their current challenges. Living in London has introduced new materials and perspectives, leading me to consider what it means to continue Japanese textile traditions in a different cultural context. These experiences have also led me to reflect on the idea of regional identity.
Where is your studio based, and how does the space inform your creativity?
My studio is currently based in London. It is a compact but flexible space where I organise materials, yarns, and samples in a visible way. This allows me to move fluidly between experimentation and making, and to see connections between different stages of the process. The space reflects my practice, where development and making happen simultaneously.
Do you have any rituals or rhythms that anchor your studio practice?
My practice is guided by a steady rhythm of making, sampling, and reflection. I often begin by organising materials and preparing yarns, which helps me focus before I start weaving. The repetitive nature of weaving becomes a meditative process, allowing ideas to develop gradually over time.
Alongside this, walking plays an important role in my practice. Living in London, I am constantly aware of seasonal changes within the city’s green spaces. While walking, I often find myself observing plants, leaves, and seeds, wondering what colours they might produce when dyed. This connection between movement, observation, and making forms a quiet but essential part of my creative process.
What bodies of work or projects are you currently developing?
I am currently developing my ongoing series TSUGI, which explores how textile traditions can evolve through new materials and contexts. The work focuses on natural dyes derived from food waste and locally sourced materials, combined with traditional Kasuri weaving techniques. I am also interested in expanding this practice into more participatory and interactive formats.
Where can collectors encounter or acquire your work?
My work is currently exhibited in group exhibitions and on open-call platforms in the UK and internationally. I also share my work on Instagram and through my online portfolio, where collectors and curators can view recent projects and get in touch directly.
