Embracing Formality

Braces, referred to in the United States, as suspenders have existed in one form or another since the birth of trousers or pants. Braces are not something to be afraid of, nor are they to be thought of as antiquated or overly formal. When dressed appropriately, they offer a comfortable blend of function and form, modernity and versatility, helping you stay comfortable in your pants whilst allowing them to hang properly and drape cleanly throughout the day.

But, before all that, let’s begin at the beginning because there’s much more to braces than simply an alternative to the belt that holds up the pants.

The creation of the modern trousers, as we know it today, is attributed to George Bryan "Beau" Brummell (known as the 'Ultimate Man of Style' and his friendship with the Prince of Wales, the future King George IV) and his tailor, Jonathan Meyer.  This was in the early 1800s at his Conduit Street workshop in the London district of Mayfair. "Beau" Brummell is credited with introducing the modern men's suit, worn with a necktie, establishing it as fashion and as a staple in today's men's wardrobe. In order to create the stretched, slim look of Brummell’s trouser legs, the straps securing the hems needed to be countered by suitable supports at the waist. Brummell’s design incorporated a foot-strap to keep the trouser-legs taut and straight – a feature that still exists on the bottom half of British Guards and Cavalry dress uniforms.

Around 1820, Mr. Albert Thurston invented the perfect product to pair with the new trousers. He used leather loops to attach braces to buttons that were sewn onto trouser waistbands. The braces could then be easily transferred for use from one pair of trousers to another. Whilst the leather loops remain a feature of the majority of Albert Thurston braces produced to this day, the configuration of the brace-straps has changed over time. Albert Thurston still remains the premier choice for proper English-made braces today. All of Faburiq's leather loops used on our suspenders are made with English leather, inspired by the inventor himself.

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Initially thought of as ‘underwear’ to be worn exclusively beneath a waistcoat, it was distasteful to wear suspenders if a vest or another piece of clothing did not cover them. As recent as 1938, exposing them was against the law on Long Island. But by the turn of the twentieth century, suspenders were increasingly becoming an accessory to take notice of, a statement piece that enhanced one’s tailored look and a demonstration of one's knowledge of how to dress.

From a practical viewpoint, correctly fitted suspenders allow you to completely forget about slouching through the day and hitching your pants up. There is nothing less elegant than pants pulled-tight with a belt that seldom stays where you want them. Suspenders eradicate that problem, hanging pants elegantly and immovably from your shoulders. They allow for your pant waistband to be looser, therefore a little roomier than if you were to wear a belt. This is not only comfortable but allows for the pant to fall through the leg more naturally. In the same breath, they allow for one to wear pants with a slightly higher rise that sit atop, rather than across the hips for a classically elegant aesthetic. Suspenders come in either button-in or clip-on variants. Button-in are more traditional and grown up. Buttons are always supplied with button-in designs, such as Faburiq's suspenders.

Suspenders also add color and character to a tailored ensemble; try a simple navy suspender with grey flannels and a tweed jacket, or else wear a pair with subtle spots or stripes under a navy blazer with a denim shirt and chinos for an understated look. Generally speaking, the narrower suspenders feel less formal, hence a good place to start for smart-casual dress. For suiting, try the wider width suspenders and complement them with the colors in your tie or accessories. Whichever style, pattern or composition of suspenders you choose, they are more than worthy of your attention and experimentation this season. They will certainly make the perfect discussion or point of distinction. Embrace them and enjoy.

Author: Aruña Chong Quiroga

Ref: "Well Hung: The Ups and Downs of Trouser Braces"  Mason & Sons | Nov 2015

Faburiq In Art Basel Miami 2016

Faburiq was honored and thrilled to be part of Art Basel Miami 2016, in collaboration with Suntory Whisky Toki and Japanese artist and designer, Jay Shogo.

Using only Sharpie permanent markers, and 20 to 100 Sharpies per painting, Jay's art can be seen at “5POINTZ” in New York City, “Wynwood Walls” in Miami, and various locations across Tokyo.

Faburiq's pocket squares were carefully selected and curated for over a period of 2 months before the final pieces were determined for the artist to do a unique painting over. The artwork was then framed and displayed at Toki's event in Art Basel. In the spirit of the sterling and iconic whisky brand, the display was very Toki driven. Toki means "time" in Japanese and the vision is about old traditional luxury meeting the new and modern luxury.

As a men's clothing brand, we are proud to not only represent gentlemen's haberdashery but that the accessories we make are indeed wearable pieces of art. Needless to say, we are incredibly grateful for the opportunity to be included in this elegant display that embodies timeless fashion, inspiring art, and an appreciation for tradition and history.

Photos by TOKI & Jay Shogo

Author: Aruña Chong Quiroga

Exploring Arimatsu

Arimatsu village is one of Japan’s hidden treasures, whose history never seems too far from the past. The town is the birthplace and probably best known for its traditional textile craft, Shibori, used for kimono and various designer garments today. “The whole town is really beautiful. People here live and breath their Shibori craft,” explains Sebastian, whose textile affections inspired his trip. It’s like a living museum - people still live here, and the town is filled with contemporary designer boutiques and modern local bistro and cafes. You can also enjoy the scenery of the village’s serene Zen forest anytime of the day. 

Arimatsu (有松町 Arimatsu-chō) was a town located in Aichi Prefecture, Japan. Today, it is approximately three-and-a-half-hours by Shinkansen (新幹線) from Tokyo. It is now part of Nagoya, a town filled with Tokugawa and Edo treasures. Shibori, also known as “Japanese tie-dye”, is a form of resist dyeing in which fabric is folded, tied, twisted or wrapped to create patterns and various motifs. The variation of methodology and motifs it has created are given different names and each has symbolic significance. 

One of the main attractions to learn and experience Shibori in Arimatsu is the Shibori Kaikan Museum. The true treasure is on the second floor where you’ll see the Shibori Craftswomen from Arimatsu. “I was introduced to Okasan Aiko during my visit where she demonstrated the different Shibori techniques. She showed me the different processes of Shibori from Kanako (regular tie-dye), Kumo (wrapping), Nui (stitching), Arashi (pole wrapping and twisting), Itajime (shape resistant/clamping) and many more Shibori techniques. The Shibori collection displayed is breathtaking, most of them dyed with the natural and traditional dye – Indigo or Japanese Blue. Shibori fabric has an amazing texture. The tiny knots that are hand tied not only create a visual pattern, but also a raised texture. The tools and vintage technology varies within the different processes of Shibori. Workshops are held where various techniques are taught by the Master Shibori craftswomen,” explains Sebastian. 

"Shibori needs patience less than time and more than heart because it's a craft beyond words. Devote to such a craft only with love." Shibori Craftswomen of 有松町 Arimatsu-chō

As Master Aiko continued wrapping her Kumo Shibori, she talked about the Annual Shibori festival, a celebration of the Shibori art and the town itself, held the first weekend of June along the old Tokaido highway. The festival floats with performances of Dashi floats and Karakui mechanical puppet shows performed by Shibori Komachi and Fukuotoko (lucky men). Some of the old historical houses are open to public offering a peek into truly traditional homes.

Many old historical houses from the Edo period still line the Tokaido road. Shibori designer boutiques, cafes and serene local shrines could be found in the backyard of Arimatsu village. The vivid art of Shibori is truly a cultural experience beyond time and history, and today, placing its mark on contemporary fashion. Experience Shibori within Faburiq’s haberdasheries and shop the story!

*If you would like to know more about Kimono fabrics click here and if you would like to know more about Shibori fabrics click here.

Authors: Alexander Sebastianus and Aruña Chong Quiroga

西陣織: Nishijin Weave - A Japanese Traditional Weave

Weaving is a method of fabric production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. This year, our team was fortunate enough to visit the Nishijin district of Kyoto and acquired a thorough understanding of the technique and origin of the Nishijin weave. We are very excited to begin including this lavish fabric in our upcoming collections.

Nishijin is a district in Kamigyō-ku, Kyoto, Japan, and (by extension) a traditional textile produced there and famous for Nishijin weaving, more narrowly referred to as Nishijin-ori (Nishijin fabric). Nishijin is Kyoto’s traditional textile center, the source of all those dazzling kimono fabrics and obi (kimono sashes) that you see being paraded about town. Nishijin produces the most sophisticated and lavish Obi you will find in Japan.

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                                       A stunning Geisha's Obi in Kyoto.

The beautiful fabrics woven in the Nishijin district are seen as a symbol of Kyoto and developed over 1,000 years alongside Kyoto's history as the former capital of Japan. Nishijin-ori‘s origins are from an ancient Japanese family, the powerful Hata clan, who immigrated to Kyoto from China around the 5th-6th century. Settling in the Uzumasa district of west Kyoto, they introduced silkworms and the manufacture of silk textiles to the local people. By the 8th century, the royal court had created an official branch to supervise the textile artists and their production. In other words, these were state-owned textile operations. 

In the 15th century, Kyoto suffered a long period of civil war, the Onin War, between the East and the West, and many artisans fled Kyoto to places such as the town of Sakai, south of Osaka. When the conflict finally ended, the weavers returned to Kyoto to resume their craft. One group of artisans settled on the site where the western army had been camped during the war. This is the origin of the name 'Nishijin,' which means west position. Nishijin’s literal translation is the West fort. Since then, the name has been used for the method of weaving to create designs and patterns using dyed threads in Kyoto.

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Supported by the patronage of both the Imperial court and great samurai lords, the weavers continued to adopt new technology. By the early Edo Period (1603 to 1867), there were some 7,000 looms crammed into an area of 1.6 square kilometers. A combination of disastrous harvests at the end of the 18th century with Japan's capital move from Kyoto to Tokyo in 1869, Nishijin weaving seemed threatened with extinction. But the Nishijin weavers showed an amazing resilience and spirit in preserving their craft. Observers were sent to Europe to study the textile industry there, and advanced Western weaving technology and equipment were introduced from France and Austria, such as the jacquard loom and the flying shuttle. By the 1890's, only 20 years after the shift of the capital, the Nishijin weavers had fully adapted modern technology to their ancient art. By adopting modern technology with their age-old craft, the Nishijin weavers were able to create a stable business in inexpensive machine-woven fabrics for everyday use that supported the production of the elaborate and luxurious hand-woven fabrics that are the purest expression of the Nishijin style.

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                                                                                                            Many Obis.

Nishijin Obi comes in many colors, including gold, and it is glamorously thick and rich, not to mention quite heavy as well. Nishijin Obi is rather expensive items, but one is enough to last for a lifetime. Their quality and craftsmanship are remarkable and orders from famous couture designers around the world are not uncommon. The Nishijin style of weaving uses yarn dyeing, in which yarns of various colors are woven to make patterns. This technique is both time-consuming and labor intensive compared to other techniques, but it is indispensable for creating the elaborate and beautiful hand-woven kimono fabric.

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                    Contemporary designs utilizing the Nishijin Weave is popular amongst couture designers.

Today, the clacking of looms can be heard all around the Nishijin area. The vitality of this district is a testament to the pride and dedication of Nishijin weavers through the ages and the important place that Nishijin occupies in the hearts of Kyoto people.

Author: Aruña Chong Quiroga

How To Dress for the Kentucky Derby

This is by far one of the best illustrations for the Modern Derby Gentleman we have come across so far. We possess an unparalleled color palette here at Faburiq and to us the accessories make the outfit. Vibrant Kimono accessories against classic Derby tradition. It can't get better than this.

Starting with the pants, whether you are aiming for a smart or casual aesthetic, it should always be an eye-catcher as long as it pairs well with the right shirt and blazer. A great dress shirt in a complimentary color will go a long way. Don't shy away from gingham, striped or even a floral shirt to turn it up. Some gents even have monograms on all their shirts like my better half! The jacket is what brings everything together. If you want a polished look, a classic navy or seersucker blazer is always in style. If you want to have a little more fun, a nice chalk stripe or windowpane suit will certainly make heads turn. We recommend sporting the 3- button side vent for a more polished look but this is more of a personal preference.

Next is the tie, the little detail that counts. Most gentlemen wear a necktie, but a bow tie is always an appreciable option. If you never wear bows, try it out and you may like it. Watching the Derby wouldn't be the same without our bowties! 

For gents that rock pocket squares, the purpose of the pocket square is to complement the rest of your look: either by harmonizing or contrasting with your other accessories. If your tie has a pattern or print, then choose a color from that palette to bring your ensemble together through your pocket square. Equally, you could choose a pocket square that is a shade lighter or darker than the core color of your ensemble. Don’t be shy to bring out an accent color on a subtle pinstripe or checked shirt, it's all in the details. Alternatively, if you want to make your pocket square the focal point of your look, you could opt to clash your pocket square with your tie and, of course, the rest of your outfit. With this, it really is a case of ‘the bolder the better’: experiment with vibrant colors and eclectic prints from our wide selection of Kimono Pocket Squares.

For shoes, the most important thing you need to know is that they should be worn sockless.

Top it all off with a fedora or bowler hat for that Kentucky Derby look. Men's Derby hats are generally solid in color and inspired by styles from the 1920s.

Now that you've tied on a bowtie with a bourbon in hand, be confident in your Derby outfit. No matter what you wear, it’s how you wear it Gentlemen!                                                                                                                                  

Seen below is one of our favorite Derby ensembles: A Green Windowpane Blazer Jacket paired with the Mocha Kame Bow Tie and Beige Hana Pocket Square. On the left is the Red and White Sashiko Bow Tie.

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Author: Aruña Quiroga

Kyoto's Yuzen Tradition

Kyoto is the traditional industrial and textile hub of Japan. Here, most of Japan's kimonos and obis are woven, dyed and embroidered. In Kyoto, you can see kimonos as part of daily life, as a fashion statement and as an extricable part of the culture, from the performing arts to the myriad ceremonies to local customs. When we visited this city last, we were able to experience the tradition of Kyoto Yuzen or Kyo-Yuzen.

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Kyo-Yuzen is applied in two styles: Tegaki Yuzen (hand-painted yuzen) and Kata Yuzen (stencil-dyed yuzen). A fan painter in Kyoto named Yuzensai Miyazaki invented the yuzen hand-painted techniques in the Edo period around 1700. With the popularity of his fans, he began to receive commissions from aristocrats to paint kimono fabrics. Yuzensai Miyazaki developed the process to create high quality, dyed fabric whose art would not be ruined by rain, humidity, sweat, sunlight and so on, yet retained the artistic and nuanced qualities of hand painted artwork. Painted yuzen uses a rice-paste resist (a barrier that blocks certain parts of the cloth from being dyed). Learn more about Tokyo Hand-Painted Yuzen. 

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Katazome or stencil dyeing is a dyeing method that uses a stencil to create repeated patterns, either using dye paste or a resist paste. The stencil is usually made of a stiff type of paper infused with persimmon juice, and is washed and reused until it falls apart. Edo Komon and Kata Yuzen are types of Katazome stencil dyeing methods. Kata Yuzen techniques were developed by Jisuke Hirose in Kyoto around 1880. With combinations of stencil, brush and resist techniques, the dye craftsmen created fabric that is its own art form. The characteristic point of Kyo-Yuzen dyeing is to dye complicated patterns with many colors and tonal gradation. And, of course with the dyeing process, fabric can be produced in larger quantity than by just hand painting.

After the fabric is dyed it is dried, steamed, washed and dried. The steaming process sets the yuzen dye. Without this labor-intensive process, the product cannot be called yuzen. The color transmission is incredible, resulting in fabrics with impressive and deep colors. The fabric below shows one of our Yuzen kimono patterns - the Indigo Kiku - made into a pocket square.

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In some ways, kimonos are a centuries-old version of ethical luxury. You can wear them for decades, even if your body shape changes. When they become used, you can make them into a futon, cushion or any creative application. They cycle through seasons, not trends. In that regard alone, the price-performance of kimonos is actually quite high.

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Author: Aruña Quiroga

Isezaki-Kasuri Weaving

In the Gumma prefecture, resides the Sadao family, the last living family that carries the tradition of Isezaki-Kasuri weaving. We spent an afternoon with Mr. Sadao as he walked us through the meticulous process of creating this handcrafted fabric. Named after the city of Isezaki itself, Isezaki-Kasuri (Kasuri meaning a splashed pattern) is a plain weave using silk thread also known as Isezaki-Meisen.

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平織り: Hira-ori or Plain weave is the simplest and most common of textile weaves. It is also known as the Tabby weave. The filling threads and the warp threads interlace alternately, forming a checkboard pattern. These plain fabrics are woven with pre-dyed silk threads, keeping the characteristics of silk. They are woven manually with various techniques ranging from simple splash patterns to more complicated splash patterns.

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Silk textiles have been woven here for centuries due to a flourishing silkworm industry. Approximately 250 years ago, the area became busy enough for a city to be established, and textiles were shipped to Edo (now Tokyo) on boats via Tone-gawa River. Although Isezaki owed its growth to textiles, demand for textiles declined drastically as woolen and silk/wool mix kimono fabrics became more popular. Isezaki-Kasuri weaving was designated a traditional craft in 1975.

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                                         The unassuming entrance of the Isezaki-Kasuri workshop where the fabrics are produced.

 Author: Aruña Quiroga

Tokyo Hand-Painted Yuzen

In Japan, craftsmanship has always been looked upon with great respect. Within the Kimono industry itself, there are a range of techniques and disciplines. One of our visits to heritage Kimono makers during our last trip to Japan was with the Ogura family of Ogura Some-gei, who keeps the tradition of Edo Yuzen living. In observing this family-run, father and son operation, their technique in Kimono crafts is derived from aspects that are "un-changed" or timeless; something that has been done the same way for many many years. But as with many small craft industries, very few craftsmen have been able to pass their skill to next generation. Fortunately, Ogura Teiyu, the father, was able to pass his knowledge and skills to his son, Takashi, which keeps the core of Japanese creation and craftsmanship culture alive. We have been extremely fortunate to have spent some time with them.

Yuzen (hand-painted patterns) originated in Kyoto in the late 17th century during the Edo period. It is regarded as the foremost representation of Japanese Kimono design. Today, Kyoto, Kaga (present-day Ishikawa Prefecture) and Tokyo are the three places renowned for Yuzen. Yuzen begin in Tokyo about one century after the art itself had already originated. At that time, Edo (present-day Tokyo) was the center of Samurai politics and the center of the nation's prosperity, after being transferred from Kyoto. Many dyers who worked for the feudal lords moved to "downtown Edo" by the rivers to continue their craftsmanship.

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There are numerous steps involved in the Yuzen process. Firstly, the fabric that is manufactured elsewhere, usually in Kyoto or Shiga Prefecture, is brought to Tokyo. It is temporarily sewn for fitting and lines for patterns are drawn on it as originally designed. It is then painted in blue ink made from the dayflower called "aobana". These lines will completely disappear when the fabric is washed later. These lines/outlines are then traced with a kind of glue substance made from rice or rubber, so that the dyes will not run into the other areas. Then, colors are placed on the patterns. This is the most important step of the entire process, in which consideration is given to coloring and coordinating the colors that are to be used, and the properties of the dyes.

After the pattern painting is completed, the whole blot of material is steamed which improves the color of the fabric and sets the dyed areas. The colored parts are then covered with the "glue substance", so that they are not damaged in the next step. During the next step, the background dye is evenly applied to the whole cloth with a big brush but the “glue substance” preserves the design.

After dyeing the background, the fabric is again steamed for about an hour, and then it is washed out. The "glue substance" is completely washed off this time. After the dyeing process is finished, gold and/or silver leaves are often attached to parts of the design and/or some parts of the product are embroided. This finishes off the product before being released for retail. In addition, when "kamon" which means family crest, should appear on the product, the product will go under the process of "monso-uwae”, the process in which the family crest is painted by hand on the finished item.

There is a movement amongst consumers that is becoming more drawn to handmade, hand crafted products. At Faburiq, we aim to satify that need by combining two traditional skills to create something extraordinary. Timeworn fabrics from Japan and classical tailoring from the USA; rejuvenated and living harmoniously as the modern man's accessory.

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Author: Aruña Quiroga

Tokyo Dyed Komon or Tokyo Some Komon

At Faburiq, we search Japan for centuries old traditions in fabric making. In our recent trip to Japan, we had the chance and privilege to meet Atsushi Tomita and his son, Takashi Tomita, whose family has been manufacturing Komon kimono fabrics since 1914. Located in the Shinjuku-ku area of Tokyo, their family run factory lies on the upper stream of River Kanda where there is ample supply of neutral river water essential for dye works. Komon means "small repeated patterns" and dyed Komon goes back to the Muromachi period (1333 - 1573) where the samurai class began to use them as daily clothes. In the Edo period (1603 - 1868), Komon was used for kamishimo, the samurai's formal wear. Each samurai family has it's own pattern and the pattern was only unique to one family. As each family competitively created original designs and techniques, dyed Komon eventually developed into a form of craft. Today, Komon dyeing has been adopted into ordinary life. The modern and sophisticated Komon kimono with a 600-year tradition is mostly worn for tea parties and chic casual today.

The process of Edo Komon are divided broadly into 5 steps:

• Designing the template and pattern carving. Groups of most skilled pattern-carvers from Ise, modern Mie prefecture, have been specializing in this demanding task for more than a thousand years, probably since the Heian period.

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• Coloring Adjustment and Paste Mixing. Powdered glutinous rice and rice bran are mixed with water to make a soft dough. The dough is steamed and kneaded with the required dye solution until it looks like paste. Dyes are tested carefully on cloths until the right shade is found. "Ji-iro-nori" is the paste for the area outside the pattern and "Me-iro-nori" is the paste for the pattern itself.

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• Katatsuke or Pattern Dyeing.  The pattern is placed on a white silk cloth on a long board and the "Me-iro-nori" is spread evenly. The patterned cloth is then dried in the sun.

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• Shigoki or Field Dyeing. When the paste is completely dried, colored paste is spread evenly on the cloth so that it covers the whole cloth. This step is called "Shigoki".  Sawdust is sprinkled over the paste-covered cloth to prevent it from adhering to other sheets of cloth.

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• Finishing which involves steaming, washing and drying. Before the coloring paste dries out, the cloth is put into a steam box for 15 to 30 minutes at 90 too 100 degrees Celsius. This process allows the dye contained in the paste to permeate evenly into the cloth. Until 1963, dyed fabric has been washed in the river Kanda. But now, underground water has been used to splash the paste off the cloth with a machine. Lastly, the cloth is spread onto a board to dry, and then smoothed out with steam and iron.

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The Shinjuku dyers along the River Kanda have played a big part in Tokyo's busy kimono industry since the beginning of Japan's modernization. Tokyo became one of Japan's three main production centers of kimonos, with Kyoto and Kanazawa. In recent years, many tradesmen in the Tokyo dyeing industry have been designated as Masters of Traditional Crafts under Japanese laws for preserving traditional crafts. The visit served as a perfect opportunity to scout for new fabrics and get inspired. Shop culture, shop Faburiq.

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Author: Aruña Quiroga

和柄: Wagara

Wagara literally means Japanese patterns or design. These patterns were created by combining elements of painting and Chinese calligraphy in the Heian Period (795-1185). To this day, there are patterns that are still being created for Wagara. It is a design found only in Japan and is very traditional.

There are ten common and basic Wagara designs. Seigaiha (青海波), which is a big wave of the blue ocean; Tatewaku (立涌); Kikkou (亀甲), which is the shell of a turtle, and is a common design representing the intellect and bliss throughout China and Korea; Kagome (籠目); Hishi (菱); Sankuzushi (三崩し); Ten (点); Shima (縞); Uroko (鱗), which is a mixture of equilateral or isosceles triangles; and Ichimatu (市松). Additional designs include Kacho-huugetu (花鳥風月) and Huujin-raijin (風神雷神). We decided to use the Seigaiha (青海波) pattern for Faburiq's packaging.

Today’s designers make new Wagara by mixing contemporary patterns with old ones. For example, patterns that resemble nature such as seasonal flowers, pine, bamboo, plum, cherry blossoms, running water, moon, waves, mountains, plants, and creatures like the butterfly, goldfish, crane, and rabbit, are used. There are also some patterns that originate from Sanskrit characters.

In the past, the Japanese wore kimono as a form of casual wear. But of late, they no longer wear the kimono, only for formal and special occasions. The kimono industry and makers begin to decline and to bring back it's appeal, they started making other products that incorporated traditional Japanese designs such as bags, pouches, and clothes. The perception of Wagara has since evolved and has notably improved. It was once considered to be old-fashioned but now it is considered unique and elegant. Faburiq strives to retain a lost art that originated from ancient traditions while keeping the need to create modern, wearable and classic designs.

Author: Aruña Quiroga

Kiku-no-hana or The Chrysanthemum Flower

If you haven't already noticed, the Chrysanthemum, or Kiku in Japanese, is a recurring flower on many of Faburiq's pieces. Why is this particular flower so prominent on Japanese fabrics? I want to share with you some of the symbolism behind this unique flower that makes up so many of our designs.

The Chrysanthemum is a symbol that represents longevity, endurance and integrity. It is the most celebrated of all Japanese fall-flowering plants. It was first introduced to Japan from China as medicine during the Nara period (710 - 793 AC), when the Japanese Royal Family became fascinated with the Chrysanthemum. Eventually it became the Imperial Family's Emblem in the Kamakura period (1192-1333). But it was only in 1869, in the Meiji period (1868-1912) that Kiku with 16 petals was officially adopted as the symbol of the Japanese royal family.

There are more than 150 seals or mon featuring this wonderful flower. The Imperial Seal of Japan is the most famous of them. The Imperial Seal of Japan feature 16 petals on the front and 16 petals on the back (only the tip of the petals can be seen on the back). The Japanese government uses the 16 petals seal for official documents such as passports. The Chrysanthemum was also used as symbol of the Throne of the Emperor of Japan. There is also the Supreme Order of the Chrysanthemum – the highest Japanese honor order awarded by the Emperor. We can also find the Chrysanthemum on 50 yen coins, kimono cloths, wallets, bags, and many other accessories in Japan. It is important to notice that white Chrysanthemum is used for funerals and graves in Japan and China. On the other hand, red Chrysanthemums are given to the people you love or, at least, are very fond of.  Therefore, be careful with the meaning of each color. 

Some of our most popular pieces that feature the Chrysanthemum flower are shown below. These pieces are made to be fun or formal but always evoking elegance and beauty.

Red Chrysanthemum Pocket Square

Orange Flower Pocket Square

Chrysanthemum and Diamond Pocket Square

White Chrysanthemum Pocket Square

Chrysanthemum and Cherry Blossom Pocket Square

Light Blue Chrysanthemum Pocket Square

Author: Aruña Quiroga

Brooklyn's Straw and Gold Now Carrying Faburiq!

Read Faburiq's Interview with Brooklyn's premier online purveyor of handcrafted, quality goods.

Author: Aruña Quiroga

絞 : Shibori

The word Shibori comes from the Japanese verb root “shiboru” meaning, “to wring, squeeze, press”.

Shibori a traditional Japanese resist-dyeing technique that has been around longer than any other fabric dyeing method. It was most popular in the early Edo period when lower class people were forbidden from wearing silk. The pattern is made by binding, stitching, folding, twisting, compressing, dyeing, and then releasing the binding pressure to reveal the pattern. Each method that is used is done with harmony with the type of cloth to create beautiful surface designs. Commonly mistaken for tie-dye in the West, the original Shibori techniques were ancestral, handed down exclusively within Japanese artisan families. There are six major known Shibori techniques: Kanoko, Miura, Kumo, Nui, Arashi and Itajime. Faburiq's accessories are made from fabrics that utilize the Kanoko and Miura techniques.

Kanoko Shibori, the most popular variation of the Shibori technique and the closest to the Western Tie-Dye version, involves tying cloth to achieve the desired pattern. Each individual knot is hand-tied, creating small variations in the shapes, and is carefully released by the artisan one at a time. Most common are circular shapes achieved with this technique. Sometimes the circles are places in an irregular fashion to create an image, or more frequently, the fabric is folded into layers to create a repeating pattern. This is a time-consuming, painstaking process with beautiful, monochromatic results.

Miura is a technique that involves looping and binding. A hook and needle is used to pluck sections of the cloth and a thread is looped around each section twice, the released pattern resembles water ripples. The final pattern depends on how tightly you bind the fabric and where it is bound, making each pattern unique in itself. This is the easiest of all Shibori techniques and most commonly used.

Author: Aruña Quiroga

Wabi-sabi: Embracing the Worn and Asymmetrical

What if, instead of fighting imperfection, you welcomed it in your life?

Believe it or not, this is the foundation of a very old way of thinking. The Japanese concept of wabi-sabi means "impermanent, imperfect and incomplete." It derives from the Buddhist way of looking at the world, which has a foundation in nonattachment, and takes its cues from the natural world and authenticity, from the handmade and the worn.

Popularized in 15th century Japan, it is a reaction to excess and lavishness. As a designer, I think of it as the anti-internet, and a similar aesthetic is undercurrent in all types of design today. Currently, it's a reaction to the sleek perfection of technology, of the cookie-cutter house or car, the bland design of corporate logos and mass-produced retail goods.

Wabi-sabi is the Japanese idea of embracing the imperfect, celebrating the worn, the used or the cracked, both as a decorative and spiritual concept. In essence, it's the acceptance of the toll that life takes on us all. If we can learn to love the things that already exist, for all their chips and cracks, their imperfections, their crooked lines or tactile evidence of being made by someone's hands instead of a machine, from being made of natural materials that vary rather than perfect plastic, we wouldn't need to make new stuff, reducing our consumption, its concurrent energy use and inevitable waste while cutting our budgets. We might also be less stressed, and more attentive to details, which are the keys to mindfulness.

At Faburiq, we design knowing our fabrics have an implied history and evidence of humanity. We have an appreciation of the stories old things have, rather than the blankness that new things shine out into the world. We pride ourselves in giving these traditional fabrics a new life by crafting them into accessories and apparel with yet, another story to tell.

Author: Aruña Quiroga