Kyoto's Yuzen Tradition

Aruña Quiroga August 22, 2015

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.

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.

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.

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

Aruña Quiroga July 29, 2015

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 (K asuri meaning a splashed pattern) is a plain weave using silk thread also known as Isezaki-Meisen.

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.

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

Aruña Quiroga June 30, 2015

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.

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

Aruña Quiroga June 5, 2015

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.

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.

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.

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.

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.

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.

Author: Aruña Quiroga

The Origins of the Kimono

Aruña Quiroga September 29, 2014

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.

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.

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/

MEET Aruña

Born in Malaysia, schooled in the United Kingdom, and now an improper Bostonian, Aruña designs each one-of-a-kind piece, and all hand-finished in the United States. Having been educated in England and Spain, and traveled extensively throughout Asia, Aruña has always been drawn to each culture’s traditional textiles and fashions. On a trip to Tokyo, Japan, Aruña visited many local fabric shops, and saw an opportunity to incorporate these traditional fabrics into contemporary men's attire.

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Men's Haberdashery and Modern Accessories Crafted From and Inspired by Heritage Japanese fabrics