His fingers muscled from almost a century of weaving, Yasujiro Yamaguchi worked the humming loom in his private workshop. Patiently lacing golden threads through a warp of auburn silk, he fashioned a bolt of kimono fabric blooming with an autumn garden in shades of tea green, ginger and plum.

But Yamaguchi, like Japan's signature kimono, is slipping into winter. At 102, he is among the last master weavers of Nishijin, the country's most celebrated kimono district, and his pace has slowed. He rubbed the morning chill from his knuckles, fitted his hunched shoulders deeper inside his indigo jacket and resolutely pushed on.
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But today, as a result of globalization and rapidly changing demographics, the kimono business has collapsed, its future in question. Sales are expected to sink to an all-time low this year, even as Japan has emerged from recession to experience its longest economic boom since World War II.

The prosperity has come with an altered set of cultural values. This is a country of manga comics and glittering animation. The rising moguls driving the new economy are more likely to buy muscled chrome from one of Tokyo's expanding list of Ferrari dealerships than drop their spoils on Kyoto silk.

As the kimono becomes more museum piece than couture item, what once made it quintessentially Japanese is gradually fading. Market realities have forced kimono makers to eschew expensive Japanese silk. As a result, more than 90 percent of new kimonos and obi made in Japan, including most of those from Nishijin's most venerable textile houses, are now woven from cheaper imported silk.