How the Valextra Iside Kyoai bag is helping revive a 700-year-old Japanese indigo dyeing technique
Valextra, the Milanese luxury leather goods house, has built its reputation not only on a refined minimalist aesthetic and dedication to craftsmanship, but also on its commitment to collaborating with artisans from around the world. The Valextra Iside Kyoai bag continues this legacy—uniting centuries-old Japanese craft with the precision of Italian design. At its centre is Riku Matsuzaki, a Kyoto-based indigo dyer devoted to reviving near-forgotten techniques.
Born in Kyoto in 1990, Matsuzaki discovered his calling for indigo dyeing while in New York, later training under master craftsman Yukio Yoshioka before establishing his own natural dyeing brand in 2021. His work goes beyond preservation—he is actively bringing back the Kyoai indigo variety, which disappeared during the Taishō period, using methods that date back over 700 years to the Muromachi era.
Transforming Valextra’s iconic Iside—a silhouette celebrated for its clean architectural lines, distinctive triangular clasp and structured form—required a meticulous three-month process. It began with Matsuzaki persuading a weaving workshop on the brink of closure to restore a century-old loom, resulting in a fabric of remarkable softness, density and durability. This fabric became the foundation for hand-painted beeswax-resist patterns, after which each bag underwent multiple cycles of fermented indigo dyeing, with a single cycle taking three days. The result is a cloud-like polka-dot motif that softens the Iside’s sharp geometry into something organic and fluid, with no two pieces ever the same.
The collaboration forms part of Valextra’s The Journey of Craftsmanship programme—an initiative that seeks out master artisans globally to reinterpret the house’s designs. “In evolving and transforming our luxury icons, the collection beautifully captures the core principles that lie at the heart of Valextra: the constant preservation and evolution of materiality in design, uncompromising artisanal excellence at all times, and our commitment to inspiring our customers to dream through this journey of craft,” says Valextra CEO Xavier Rougeaux.
Speaking with Tatler, Matsuzaki shares the story behind the Iside Kyoai bag and how it supports his mission to preserve cultural heritage.
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Kyoto Indigo dyer Riku Matsuzaki (Photo: Valextra)
How does Valextra resonate with your own artistic philosophy?I feel a strong connection between Valextra’s appreciation for craftsmanship and its respect for handmade processes, and my own philosophy of valuing the warmth and imperfection found in traditional Japanese craft. Both approaches celebrate the human touch.
What first stood out to you about the Valextra Iside bag?I was immediately drawn to its aesthetic, which aligns closely with Japanese sensibilities. Valextra’s quiet elegance—favouring minimalism over bold logos—reminds me of Japan’s “aesthetics of subtraction”. In traditional Japanese culture, beauty lies not in extravagance but in simplicity and subtlety. Beauty and prettiness often don’t go hand in hand—and that contrast is also at the heart of my Kyoai dyeing work.
Why create a cloud-like motif for the Iside Kyoai?It wasn’t originally meant to depict a cloud. The pattern was inspired by a traditional technique called Teita-hō, used 500 years ago to test the quality of indigo by stamping the paste onto paper. I based my pattern on this method, which I now refer to as the “Teita pattern”. When Valextra’s designer saw it, she remarked that it resembled a cloud—and that’s how the interpretation came to be.
Valextra Iside Kyoai (Photo: Valextra)
What technical challenges did you face when bringing the Iside Kyoai to life? As I followed my usual methods, there were no major technical issues. The one challenge was deepening the colour within a limited timeframe, which required careful layering of dye.
Valextra’s The Journey of Craftsmanship campaign celebrates global artisans. Why is this creative exchange meaningful to you?Traditional Japanese craft is slowly fading. If artisans in Japan can collaborate with major global luxury brands on equal footing, I believe it offers hope—not just for preserving the craft, but for inspiring the next generation. That’s why I think this initiative is so important.
How does the Iside Kyoai project align with your broader mission to preserve and innovate Japanese craft traditions?Reviving Kyoto indigo or Kyoai, which disappeared a century ago, comes with a deep sense of responsibility. This collaboration is especially meaningful because Kyoai is now preserved in Valextra’s archive in Italy—not just in Japan. As someone who’s only worked independently for five years, it’s an honour to have my work join the legacy of a brand approaching its centenary. I hope to continue leaving traces of Kyoai around the world.
Front of the Valextra Iside Kyoai (Photo: Valextra)
Back of the Valextra Iside Kyoai (Photo: Valextra)
What was the most valuable insight gained from this collaboration?I was deeply moved by how my indigo artwork—focused entirely on colour—was transformed into such a refined and elegant finished product. It gave me a profound appreciation for the skill of Valextra’s leather artisans.
What’s next for you?The rest of this year is packed with solo exhibitions in Japan and New York, as well as participation in several Japanese art fairs. I’m also working on an exciting collaboration between Kyoai and a globally recognised Japanese character, to be announced this autumn. Another project with a New York-based fashion brand is scheduled for a spring launch.
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