For Spaces
Some objects stop a guest in the corridor.
They do not recognise why, at first. They come closer. They ask the person at the desk. They remember the room — not the thread count, not the view — but the wall. This is what a Renaras piece does in a space.
Every piece Renaras makes begins as vintage Japanese ceremonial silk: obi, furisode, uchikake, nagajuban — woven in Kyoto or Nishijin, worn through decades of formal ceremony, then passed forward. In the atelier in Amsterdam, each silk is cut, constructed, and finished by hand into a wall tapestry, a table runner, or a framed textile panel. No two pieces share a pattern. No piece can be reordered. When a silk is gone, it is gone.
This is the philosophy of mottainai — the Japanese principle that nothing of beauty should be wasted. For a space that has a point of view, it is not simply decoration. It is a position.
What we place
Ceremonial kimono installations are the most singular acquisitions Renaras places in a space. These are not constructed objects — they are original vintage Japanese ceremonial garments, mounted and displayed as the cultural art objects they have always been.
Uchikake. A Japanese bridal and ceremonial over-kimono, floor-length, worn trailing across tatami during the most significant passage of a woman's life. The pieces Renaras works with are vintage ceremonial silk: densely embroidered with cranes, pine, chrysanthemum, and sakura in gold and silk thread — made to be seen from across a room and still to reveal detail on close approach. Mounted as a wall installation, an uchikake transforms an entrance, a dining room, or a suite corridor in a way that no constructed artwork can replicate. It carries the weight of ceremony. It speaks of Japan not as a design aesthetic but as a culture of exquisite tenderness — of spring, of the fragility and momentousness of a single celebrated day. Guests stand in front of it. They come closer. They do not forget it.
Furisode. The long-sleeved formal kimono worn at Coming-of-Age ceremonies and significant celebrations. Where the uchikake is ceremonially weighty, the furisode is painterly and alive — frequently hand-painted or dyed in the yuzen tradition with sweeping landscapes, seasonal florals, or bold cascading motifs. A furisode mounted in a restaurant or a spa reception speaks of spring, vitality, and the Japanese capacity for joy. For a venue that wants the visual drama of a ceremonial kimono without the bridal register, the furisode is the correct piece.
Hand-painted pure silk ceremonial kimono. The most immediately legible as fine art. Painted directly onto the silk using traditional Japanese techniques — yuzen dyeing, tsutsugaki resist-paste, or freehand brushwork by a named artisan — these pieces carry a painter's hand in every centimetre of their surface. No reproduction is possible. No edition exists. For design-literate buyers and interior architects who understand the difference between a printed pattern and a painted one, the hand-painted ceremonial kimono requires no explanation.
Every ceremonial kimono Renaras places is mounted on a custom backing with a concealed hanging system — no frame, no glass, no interference with the silk. Installation instructions and all hardware are included. Full provenance documentation accompanies each piece: the silk type, the technique, the approximate period of weaving or painting, the ceremonial context.
Because these are complete ceremonial garments of significant cultural weight, Renaras places each kimono once. It belongs to one space. It will not be found elsewhere.
Wall tapestries are the primary silk art piece for hospitality spaces at architectural scale. Constructed in the Amsterdam atelier from vintage ceremonial silk panels — obi, furisode, nagajuban — each tapestry is a composed work: colour, pattern, and proportion considered for the wall it will inhabit. They hang from two bars, top and bottom, requiring no specialist installation. Dimensions range from intimate to architecturally commanding.
Table runners in vintage ceremonial silk transform a dining table, a sideboard, or a reception counter. Woven patterns that carried the weight of Japanese ceremony now carry the weight of a meal or a meeting. For Japanese-aesthetic restaurants, omakase counters, and private dining rooms, they are singular in a way no linen supplier can replicate.
Framed textile panels suit smaller spaces — a suite desk, a spa waiting room, a lift lobby — where scale matters and the piece must function as both art and object.
How placement works
Renaras does not supply catalogues or collections. Every placement is a conversation.
You describe the space: the proportions, the existing palette, the story the room needs to tell. We bring a curated selection — pieces selected specifically for that environment, not pulled from a general inventory. You acquire the pieces that belong there. Everything else returns to the atelier.
For interior architects and hospitality designers working on specification briefs, we work to timeline and provide full provenance documentation, care instructions, and installation guidance for every piece.
Minimum acquisition for a commercial placement: one piece. There is no maximum.
Begin the conversation
Complete the form below and we will write to you within two working days.
Or write directly to contact@renaras.com with the subject line: Space inquiry — [venue name].
Every piece Renaras places in a space is placed once. The silk carried ceremony for decades before it reached us. It will carry your space for decades more.
One silk. One story. One piece. Never repeated.