| 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. |
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| 1985 | Sashiko series, based on traditional Japanese cross-stitching. |
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| 1986 | Crepe series, using ultra-spun yarns to create wavy surface textures. Usually reserved for expensive silks, we invent a way to crepe cotton. |
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| 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. |
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| 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. |
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| 1989 | Spattering series, borrowing on secret spray-plating technologies from the automotive
industry. |
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| 1990 | Metalic series, weaving with fine threads of different metals. |
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| 1991 | Rust dyeing, making strong "stamped-in" patterns indelible iron. |
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| 1992 | Raggedy (Boro Boro) series. All things torn and comforting, selectively "worn
out" by hand and machine, chemicals and heat. |
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| 1993 | Velvet series, luxurious high-pile radically "shaved" for contemporary
styles. |
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| 1994 | Feather series, "flight jacket" pockets of sheer silk organdy. |
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| 1995 | Salt Shrink (Enshuku) series, a traditional Japanese seawater-reactant treatment
adapted to the modern textile mill. |
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| 1996 | Embroidery series, fanciful all-over stitched patterns by machine. |
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| 1997 | Peek-a-boo (Hatsunetsu) series, caustic-burning to reveal hidden inner layers. |
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| 1998 | Glued Paper print series. NUNO "prints" strings of persimmons in Japanese
handmade paper (washi) onto a velvet base with a durable synthetic glue. |
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| 1999 | Glass Bead series. Tiny glass beads are glued all over the fabric surface for gleaming
effects. |
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| 2000 | Burner Dye series. High-tech stainless steel meets "primitive" flame-tempered irridescence. |
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| 2001 | Eco series. Experiments with biodegradable maize fibre and other "miracle" eco-synthetics. |
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| 2002 | Shutter series. Strips of nylon tape stitched into all-over patterns. |
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| 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. |
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| 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. |
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| 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. |
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| 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? |
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| 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. |
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