Historic French-Japanese silk and ancient kumihimo are reborn in contemporary jewelry and sculptures

KANAE BRIANDET© MARION SAUPIN

Designer Kanaé briandet uses Tomioka Cocoons and traditional Passementerie in textile creations

MASSY, France – Designer Kanaé Briandet-Amano, born in Shizuoka (Japan), has transformed silk cocoons into her artistic signature by creating jewelry and textile sculptures that blend traditional Japanese and French techniques. Based in France since 2000, she works in her studio in Massy, in the Paris metropolitan area, where she develops unique pieces with high-quality natural materials.

The cocoons used by the artist come from the Tomioka Silk Mill, a UNESCO World Heritage site since 2014, located in Gunma Prefecture, Japan. The factory was founded in 1872, during the Meiji Era, as part of Japan’s modernization and westernization process. The Japanese government hired French specialists – the country that then dominated silk production technology – to install and operate the country’s first modern silk mill.

The construction of Tomioka represented a pioneering technological partnership between Japan and France in the 19th century. The industrial complex became a model for other Japanese factories and played a crucial role in transforming Japan into a major exporter of high-quality silk. The Franco-Japanese collaboration in creating the mill established a historical connection between the two countries that, centuries later, resonates in Briandet’s work.

“I discovered the Tomioka cocoons almost by chance,” says the designer, who has been a member of the Tomioka silk promotion organization since 2020. “The cocoon is an armor that protects the chrysalis during transformation. It’s soft, fragile, and yet so strong. It reveals nature’s fragility and the need to protect it. For me, using these cocoons is also a way to honor this historical bridge between France and Japan.”

Briandet’s choice of this specific material goes beyond aesthetics. Tomioka silk represents a tangible symbol of the cultural fusion that defines her own artistic journey – born in Japan, trained in Eastern techniques, based in France, and inspired by European artisanal tradition.

Ancient Japanese Technique

In addition to cocoons, Briandet employs kumihimo, an ancient Japanese braiding technique dating back to the Nara period (710-794 AD). The word kumihimo literally means “braided cords” in Japanese (kumi = braid; himo = cord). Originally used to create decorative and functional cords for kimonos, samurai armor, and ceremonial objects, the technique has been passed down from generation to generation as part of traditional Japanese craftsmanship.

The kumihimo process uses specific structures called marudai (for round cords) or takadai (for flat ribbons), over which threads are interwoven in complex geometric patterns. Artisans manipulate small wooden spools called tama, which hold the colored threads while moving them in precise sequences. Each movement follows an almost meditative rhythm, and creating a single cord can take hours or days, depending on the pattern’s complexity.

In the context of passementerie – a French term designating the set of techniques for producing trims, fringes, tassels, and decorative cords – kumihimo represents the Japanese version of this textile art. While European passementerie developed with its own characteristics, the Japanese technique is distinguished by the geometry of patterns, the symbolism of colors, and the use of the highest quality silks.

“Kumihimo is a true source of inspiration for my projects,” says Briandet. “The combination of raw materials, such as natural cocoons, with the artisanal refinement of braiding creates a dialogue between the organic and the elaborate, between the spontaneous and the meticulous.”

The designer also uses needle embroidery, semi-precious stone setting, and glass beads in her creations.

Revival of Ancestral Knowledge

Briandet’s work stems from a defined purpose: to use “forgotten” materials and knowledge to revive ancestral practices and project them into the future. In this spirit, the artist combines her jewelry with imposing sculptures that incorporate large quantities of precious cocoons.

“My jewelry integrates in perfect harmony with my sculptures, and vice versa – the sculptures add value to the jewelry. They resonate with each other,” explains the designer. This integration between the two artistic languages began to intensify from 2019, when Briandet transcended the traditional boundary between adornments and art objects.

The sculptures function as conceptual extensions of the jewelry, expanding the scale and visual presence of the same material and technical elements. While jewelry is designed for the human body, sculptures occupy exhibition space with volume and architectural presence. Both share the same aesthetic language, the same natural materials, and the same commitment to artisanal techniques on the verge of disappearing.

Career and Recognition

A graduate in fashion design from Bunka Fashion College, one of Japan’s most renowned institutions, Briandet came to Paris for an internship that defined her career. After working as a jewelry designer, she founded the Office Bacteria brand in 2009, together with painter Teppei Ikehira. In 2016, she launched her own label, Kanaebriandet.

The artist’s work earned her selection in international competitions such as Miniartextil, in Como (Italy), in 2016, and the Atelier d’Art de France competition in 2017. Since 2020, she has been a member of Atelier d’Art de France and the Tomioka silk promotion organization. In 2022, she received the silver award from the Société Nationale des Beaux-Arts (SNBA).

Exhibitions and Salons

Briandet’s creations have been exhibited at major artistic events in France, Japan, Italy, Germany, and South Korea. Among the main exhibitions are Révélations – International Biennial of Art Crafts and Creation, at the Grand Palais Éphémère, in Paris (2022), and the Cheongju Craft Biennale, in South Korea (2021).

The artist also participated in the Salon des Beaux-Arts in Paris (2022, 2024), the Maison & Objet fair (2018), and the Carrousel des Métiers d’Art du Louvre (2016, 2020). In 2025, she will present works at the Révélations Biennial edition in Paris and at the Tout en Légèreté exhibition at Carré Saint Cyr in Le Vaudreuil.

Cultural Fusion

Briandet’s fascination with France began in childhood, when she became enchanted by lace, antique dolls, and photographs by Robert Doisneau. Her current work reflects this connection between Japanese and French cultures.

“I seek an osmotic union between wearable paintings and hangable adornments,” explains the designer. “My paintings give depth to my jewelry, and the jewelry, in turn, offers structure – with volume and a certain architectural sense.”