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

A Taste of Bourbon

On a recent visit to the Georgia's Lake Country between Augusta and Atlanta, we were very fortunate to experience Southern hospitality together with a taste of Bourbon. Bourbon is a type of whiskey along Scotch and Rye. Whiskey, spelt with an "e" is produced stateside, while many other countries call their product “whisky.” 

American whiskey often celebrates individuals who represent idealized values—independence, pragmatism, and guts—of the American frontier. It’s a patriotic formula that markets well, even though many of the stories behind the brands are false. For example, Elijah Craig is occasionally credited with inventing bourbon and Evan Williams is often called Kentucky’s “first” distiller, even though historians have long dismissed the claims. Believe it or not, the first Whiskey Bourbon brand in America was of Jewish origin, created by a Jewish immigrant by the name of Isaac Wolfe Bernheim. Isaac's last name came from Bern, Switzerland, which his family fled for Germany in the fourteenth century. Then, 500 years later, Bernheim left for America. Along with his brother, they started the first Bourbon distillery in Paducah, Kentucky. The saga matched any frontier tale, but in spite of that Bernheim still felt that his ethnic surname would draw prejudice if he used it as a brand. He compromised by placing the Anglo-Saxon “Harper” after his own first two initials to create the I.W. Harper bourbon.

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Homemade Mint Julep

If you ever visit Heaven Hill distilleries, the largest family owned distillery and second biggest holder of bourbon stocks in the nation (behind Jim Beam), it is worth seeing the Bourbon Heritage Center that sits on the company’s grounds in Bardstown, Kentucky. Built into the architecture, the wooden rafters above the tasting room are held up by iron supports shaped like the Star of David. You have to look carefully for them, though. The gesture is subtle, even though it carries the weight of some of bourbon’s first and most famous names.

Bourbon, whose name comes from an area known as “Old Bourbon” in Kentucky, is distilled from corn. For a whiskey to be considered bourbon, the grain mash must be at least 51 percent corn. On top of that, by law, the mixture must be stored in charred oak containers and cannot contain any additives. From “Mad Men” episodes to modern nightclubs, neighborhood bars to interoffice gifts, bottles of bourbon have been popping up on our collective radar in the last several years.

Here are our few favorites and two cocktails we savored in the company of Southern charm that will do wonders for our internal temperatures this winter. Why not give Bourbon a taste this New Year?

Woodward Reserve

Appearance:   Clean, Brilliant Honey Amber

Nose:   Heavy with rich Dried Fruit, hints of Mint and Oranges, covered with a dusting of Cocoa. Faint Vanilla and Tobacco Spice

Taste:   Rich and Rounded, smooth with Citrus, Cinnamon and Cocoa

Finish:   Silky Smooth, almost Creamy at first with a long, warm satisfying finish

Knob Creek

Appearance:   Deep, Dark Amber

Nose:   Notes of Maple Syrup, Toasted Nuts and Oak

Taste:   Silky Smooth, almost Creamy at first with a lingering warmth

Finish:   Long and Smooth, with more kick than most

Bulleit

Appearance:   Medium Amber in color

Nose:   Gentle Spiciness and Sweet Oak Aromas

Taste:   Mid-palate is smooth with tones of Maple, Oak and Nutmeg

Finish:   Long, Dry and Satiny with a light Toffee flavor

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Author: Aruña Chong Quiroga

Ref: "The Jewish Origins of Kentucky Bourbon" by Reid Mitenbuler, The Atlantic | May 2015

         "The Real Difference Between Whiskey, Bourbon, Scotch and Rye", The Huffington Post | March 2016

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

CIRCUIT - MassArt Runway Show 2016

Massachusetts College of Art and Design showcases the work of Fashion Design students in its annual fashion show with designs from seniors, juniors and sophomores presented in a formal runway show. Now in it's third year, the goal is to provide a full-tuition scholarship to a deserving and exceptional Fashion Design student. This year, Faburiq is thrilled and honored to be involved in making the annual Pre-Fashion Show Party and runway show a tremendous success. The 2016 MassArt Fashion Show Party surpassed its goal and MassArt was able to award a full tuition scholarship to an exceptional and deserving Fashion Design student.

Founded in 1873, MassArt has a legacy of leadership as the only independent public college of art and design in the country and the nation’s first art school to grant a degree. Since 1907 MassArt’s Fashion Design Department has been devoted to the essence of educating fashion and textile designers with a unique message and compelling vision for the industry. The fashion we witnessed that evening exemplified artistic excellence, intellectual creativity and entrepreneurship. All the collections embodied a certain design viewpoint that was unique and visionary. Here are some of our favorite pieces of the night! 

From left to right: Designs by Naomi Fyhr, Zelda Flisiuk and Roshan Akbari (Class of 16)

By supporting an institution such as MassArt, we at Faburiq felt that it was a testament to the solid work of artists, designers and craftsmen the world over and that creative thinkers and makers are not only economic generators, their contributions to the creative economy continuously changes the world from past to the present.

Photo Credits: Massachusetts College of Art & Design and Kortenhaus Communications, Boston

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

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