1984 Nuno Corporation founded.
Flagship shop opened at AXIS design centre, Roppongi, Tokyo.

Computers integral to designing and production from the launch.

First fabric series included Bashofu, based on Okinawan banana fibre weaving.

Also unbleached fibre colours and natural indigo dyeing.
1985 Sashiko series, based on traditional Japanese cross-stitching.
 
1986 Crepe series, using ultra-spun yarns to create wavy surface textures.

Usually reserved for expensive silks, we invent a way to crepe cotton.
 
1987 Burn-out series, chemical etching (devorer). Screen-printed patterns that selectively corrode away.

Melt-off series, using fibres that dissolve in chemical baths leaving a gossamer opalescence.
 
1988 Introduced Macintosh-driven Jacquard looming.

Puffed series, airy textures induced by contrasting controlled shrinkage rates.

Multi-layered weaving, for volumetric effects.

Tubular weaving, seamless clothing in any length.
 
1989 Spattering series, borrowing on secret spray-plating technologies from the automotive industry.
 
1990 Metalic series, weaving with fine threads of different metals.
 
1991 Rust dyeing, making strong "stamped-in" patterns indelible iron.
 
1992 Raggedy (Boro Boro) series. All things torn and comforting, selectively "worn out" by hand and machine, chemicals and heat.
 
1993 Velvet series, luxurious high-pile radically "shaved" for contemporary styles.
 
1994 Feather series, "flight jacket" pockets of sheer silk organdy.
 
1995 Salt Shrink (Enshuku) series, a traditional Japanese seawater-reactant treatment adapted to the modern textile mill.
 
1996 Embroidery series, fanciful all-over stitched patterns by machine.
 
1997 Peek-a-boo (Hatsunetsu) series, caustic-burning to reveal hidden inner layers.
 
1998 Glued Paper print series. NUNO "prints" strings of persimmons in Japanese handmade paper (washi) onto a velvet base with a durable synthetic glue.
 
1999 Glass Bead series. Tiny glass beads are glued all over the fabric surface for gleaming effects.
 
2000 Burner Dye series. High-tech stainless steel meets "primitive" flame-tempered irridescence.
 
2001 Eco series. Experiments with biodegradable maize fibre and other "miracle" eco-synthetics.
 
2002 Shutter series. Strips of nylon tape stitched into all-over patterns.
 
2003 Oshima tsumugi is a silk fabric born of the natural bounty of Amami Oshima Island. Weaving, however, yields leftover "waste" thread, which we collect, re-spin and used to make new thread.
 
2004 One of our Tsunagi Patchwork series. Here we have patched together chips of various different NUNO fabrics, all by hand. A plain, but comforting design.
NUNO Tsunagi
2005 The transparency of monofilament threads and cut fringes give this fabric bounce. The fringes are first rough-cut by hand, then evened off with a shearing machine.
Windbreak
2006 Nuno Circle
Nuno works with smaller, often lesser-known Japanese weaving and dyeing centres to create fabrics that can only be made here and now in Japan.
We are especially interested in "earth-friendly" sustainable materials, and are currently pursuing more beautiful ways with recycled fibres in collaboration with Teijin. Who says ecology means boring design?
Nuno Circle
2007 Baby Hair
Phosphorescent pigments that store sunlight and then shine in the dark are widely used for safety devices and fire- prevention. Unlike the seventeenth century Bolognian "philosopher's stone", Nuno's glow-in-the-dark Baby Hair fabric gives off soft waves of light.
Baby Hair