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

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

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

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

Give Thanks, Be Thankful and Waste Nothing

Happy Thanksgiving from Faburiq!

Faburiq lives by the values of Mottainai - that the old can be made new and everything can be given life again. Faburiq's pieces are fabrics that have been saved and reused, so you can give them another history and chapter in it's life. Thank you to our customers and for giving us the opportunity to serve you.  Have a very Happy Thanksgiving 2014!

Author: Aruña Quiroga

Studio Visit: STIL Now!

When one thinks of a curated, creative lifestyle encompassing health, well-being and personal style, Betty Riaz embodies all of these.  Through her work as a yoga practitioner, her boutique at Stil Studio, and now teaming up with fine jewelry designer, Ana Katarina Vinkler-Petrovic, to curate Boston's newest pop-up store Stil Now, on Boston’s famed Newbury Street. Scouring the globe for unique, handpicked, sustainable and stylish items, Stil Now, with its eclectic mix of designers, is a blueprint for a balanced, international lifestyle. As dear friends, Betty invited me to share Faburiq’s international elegance with Stil Now, and I am honored to have Stil Now carry Faburiq pocket squares. 

As a huge follower of designers that Stil has previously carried, we're thrilled Stil Now has brought back some of it's old favorites such as Hoss, Nirva, Ottod'Ame and Escentric Molecules. For this holiday season, Stil Now is featuring Balkan designers, notably Ana-Katarina Jewelry, Portmanteau, Amna and Milansenic. A host of designers for men's accessories and home goods such as Beacon Hill Bow Tie Club and Miraggio Pillows are also being featured. The space is just as one would imagine - minimal, serene, foreign but homely, like a living space that has manifested from the streets of Pakistan to the clean cuts and coziness of Copenhagen.

If you are in the Boston area be sure to visit Stil Now on Newbury St this Holiday season, and thank you to Betty, Ana-Katarina and the Stil crew so much for carrying Faburiq!

Author: Aruña Quiroga

Holiday Gifting Solved with Shades of Blue

Pocket Squares are handy and stylish. Great to dress up any pocket - suit pocket, pant pocket, jean pocket, shirt pocket, even a ladies pocket....get one of these cool kasuri cotton blues to add to your stocking stuffers! Also available now at Stil Now on Newbury Street!

Author: Aruña Quiroga

Faburiq is now available at STIL NOW on Newbury Street!

Faburiq's pocket squares are now available at STIL NOW's pop up store this November and December 2014! Serving both Men's and Women's fashion needs, kick start your holiday shopping with some serious style and get a square at 304 Newbury Street in Boston!

Author: Aruña Quiroga

Inspired by Seigaiha 青海波

The new packaging for Faburiq is here! Seigaiha 青海波 literally means "blue wave of the sea". The double circle patterns resembling ocean waves around the label is not only found on fabrics but on packaging and pottery. This pattern has been used as a clothing motif in Japan for more than a thousand years and also used on ancient Chinese maps to illustrate seawater. The pattern originated from Middle Eastern culture and was introduced to Japan through China around the 11th century.

Just as blue ocean waves are the movement and the current of changing tides, such is life itself, always in motion and a journey. For me, the blue color conveys a sense of calmness and tranquility while the waves represents motion. An ideal combination whilst not always easy to accomplish, but is perfect as packaging for something truly special.

Author: Aruña Quiroga

銘仙絣: Meisen-Gasuri

Meisen silk is woven from pre-dyed silk threads (Ikat technique) and is the densest type of Ikat fabric in the world. Meisen is a moderately lightweight silk weave with a hard, smooth touch. The average person on the street in Japan will recognize meisen as what we call ikat. However, meisen may also be a solid color fabric, or woven entirely with undyed, unbleached yarns. So actually, meisen is the weave and kasuri is the dye method. Commencing production around 1868, Meisen silk became hugely popular in the 1920s/30s amongst fashionable Japanese women for everyday wear. Heavily influenced by European painters and art deco style, Meisen silk exhibits striking, bold and geometric prints that reflect the heyday of its production. Meisen ceased major production in the 1960s. 

To make meisen fabric, threads are first loosely woven and then dyed using stencils. The warp or the weft threads may be discarded at this point and new ones woven in to create the initial patterns. An alternative method is to stretch the threads as if they were woven, and then tightly bind the design areas before immersing the fabric in dye. The bound areas resist the dye, and when woven, this results in a design with rough edges because the threads are not evenly aligned. After the fabric is woven, additional hand painting, dying or embroidery is completed before assembling the kimono.

Today, Meisen is woven in the general region of Chichibu and Isezaki using yarns called tama-ito (a thick, seasonal raw silk) and noshi-ito (silk thrums) to weave a very strong, thick cloth used in every-day clothes. Centers of production are to be found in Kyoto, Isezaki, Chichibu, Ashikaga, Kiryuu, and Hachiouji. Although production of fabrics with Meisen style weaving has dwindled, what is left is a testament to the continuing dedication to craft and tradition alongside the rise of machine manufacturing.

Author: Aruña Quiroga

Faburiq is Obsessed with Fabrics!

               Everything comes back to Fabrics

What inspired the birth of Faburiq? It was the fabrics and the textiles that I found over time through my travels. But Japanese textiles made a lasting impression on me. The craftspeople that made these textiles have dedicated their lives to perfecting the art of textile weaving using the same looms and techniques for generations. These methods are found nowhere else in the world. But, interest, demand and appreciation for these types of fabrics are fading in Japan and within our generation.

Faburiq lives by the values of Mottainai - that the old can be made new and everything can be given life again. Mottainai is an old Buddhist word, which has ties with the Shinto idea that "objects have souls within them".  Mottainai is a tradition very much alive in the Japanese "cultural DNA" today, which has evolved into an international concept.

Fabrics aren't just the materials we use; it is what inspires us to create. Faburiq only works with select collectors of antique and vintage fabrics in Japan, who share a passion for textiles that are made with integrity and purpose. From the fabric to the ribbon that hems your precious square, to the paper that wraps your package, everything is made with the utmost care and nothing is wasted. Every bit of fabric is saved, crafted and given a chance to be part of your life.

On my next blog post, you'll learn more about the types of Japanese fabrics and the techniques involved in their making. Stay tuned!

Author: Aruña Quiroga

         Indigo Shibori at a Japanese textile workshop

                                    Sashiko Stitching

The Origins of the Kimono

The kimono is a simple garment with a complex history that has been shaped by the evolution of weaving, dyeing, and embroidery techniques as well as cultural changes in Japan. The kimono's form was first introduced from China as an undergarment. Its use as a normal form of dress for men and women dates back from the Muromachi period (1392–1568). Meaning 'the thing worn', the term kimono was first adopted in the mid-19th century. Prior to that, the garment was known as a kosode, which means 'small sleeve', a reference to the opening at the wrist. Originally worn by commoners, or as an undergarment by the aristocracy, from the 16th century the kosode, or kimono, had become the principal item of dress for all classes and both sexes. It is still today, an enduring symbol of traditional Japanese culture. In kimono dress, it is the pattern on the surface, rather than the cut of the garment, that holds significance. Indications of social status, personal identity and cultural sensitivity are expressed through color and decoration.

                                                           Kosode circa 1610

The Edo period (1615–1868) was one of unprecedented political stability, economic growth, and urban expansion in Japan. Women's kimonos became very decorative from the middle of the Edo period in spite of bans on luxurious living imposed by the Tokugawa shogunate, the rulers of Japan at the time. The primary consumers of sumptuous kimono were the samurai, the ruling military class. Yet it was the merchant and artisan classes, or chōnin, who benefited most from the peace and prosperity of the period. However, the rigid hierarchy of Tokugawa Japan meant that they could not use their wealth to improve their social status. Instead they had to find different outlets for their money, such as buying beautiful clothes. It was this new market that stimulated the great flowering of the textile arts in the Edo period, what would be considered today as the “fashion industry”. The kimono developed into a highly expressive means of personal display, an important indicator of the rising affluence and aesthetic sensibility of the chōnin. During this period, woodblock-printed pattern books, called hinagatabon, played a crucial role in transmitting the most fashionable designs, just as fashion magazines and catalogues do today.

The modernization of the kimono happened during the Meiji period (1868–1912). In an attempt to place Japan on equal footing with Europe and America, Japanese officials began wearing Western-style clothing. In the late 1880s, even Empress Shōken promoted Western gowns to encourage women to adopt modern modes of dress. The kimono gradually became identified as Japan’s national dress, and at the same time became a highly sought-after fashion item in Europe and the United States, coinciding with the Japonisme craze that inspired many Western artists and designers, notably Vincent van Gogh and other Impressionists. 

The Taishō period (1912–1926) saw great urban growth, particularly in Tokyo. The prosperity and optimism of the period is evident in the colorful and cheerful textile designs, such as a kimono ensemble with brilliant explosions of chrysanthemum blossoms. Although Western-style clothes gained popularity, the kimono continued to be every-day wear. The motifs were dramatically enlarged and new designs appeared, sometimes inspired by Western-style painting. In creating such boldly patterned kimonos, the designers benefited from new types of silk and innovative patterning techniques and the technological advances made during the late 19th century. The kimono became relatively inexpensive and these highly fashionable garments were made available to more people than ever before. These vibrant kimono styles remained popular until the 1950s.

                                                          A Modern Day Geisha

During the Shōwa period (1926–1989), kimono design continued to evolve in response to the artistic and political upheaval at the international level. There were even war propaganda kimonos with unique designs reflecting contemporary politics of the 1930s and 1940s. Over time, kimono makers evolved from nameless artisans to designated Living National Treasures, and the kimono gradually transformed from an item of every-day clothing to an exclusively ceremonial garment.

Kimonos are also known to be rather expensive. If this limits the wearing of them, it also proclaims their high cultural value. Indeed, the garment may be worn much less, but its symbolic importance has grown. As Japan has come to define itself within the western world since the late 19th century, the kimono has come to mark a boundary with the foreign, to stand for the essence that is Japanese. This is reflected in the fact that most contemporary textile designers working with traditional techniques still use the kimono as the primary format for their artistic expression.

              Audrey Hepburn in a Kimono circa 1960

The 21st century, however, has witnessed something of a kimono renaissance. Many eminent fashion designers, both in Japan and the West, creating innovative works inspired by the age-old indigenous garment. Elegant kimono in beautiful modern fabrics can be seen increasingly on the streets of Japan, while second-hand kimono are becoming popular with the young, who often re-style them or combine them with other items of dress. After the Second World War, kimono were often viewed as a product of Japan's feudal past or a symbol of woman's oppression, but today with Japan experiencing a “kimono boom”, they are just another choice in a woman's - and even occasionally a man's - wardrobe. They are an item of fashion, just as they were in their Edo heyday.

Author: Aruña Quiroga

Sources: The Victoria and Albert Museum, London, United Kingdom; http://www.vam.ac.uk/, The Metropolitan Museum of Art, New York, United States; http://www.metmuseum.org/