WONDERFUL SASHIKO

 

 While I am still on a bit of a Japanese textile kick, I was fortunate enough to be able to photograph some wonderful examples of sashiko stitching while at the Textile Museum in Toronto.  I will give you a bit of an introductory primer on sashiko for those of you who are unfamiliar with the technique.

Sashiko is a form of Japanese hand embroidery using the basic running stitch to create a pattern, more often than not geometric and with many designs representative of nature and rural life. Many sashiko patterns have charming names such as " Rising Steam" ,"Mist"  Pine Bark" " Water Wells" and so on.  Sashiko literally means " little stabs". Originally, sashiko stitching was used as a form of repairwork or darning to worn clothing and futons. It was so beautiful and durable that it eventually became an art form unto itself. The thread used for sashiko is a tightly twisted heavy weight cotton and needles are very long with a large oval eye. The fabric is cotton or linen. Traditionally the thread is white and the fabric is usually indigo blue, however today there are a myriad of thread colours available and several new creative versions have emerged based on the technique.

 














In the hallway of the Textile Museum hangs a huge Sashiko quilt created by the volunteers, staff and friends of the museum who joined together in 2012 to embroider 150 squares for inclusion in this magnificent quilt.

                                                         


 

One could stand for hours inspecting the designs and details in this quilt.  There is just so much going on in there!  I was able to photograph segments of the quilt - at least those I could reasonably reach and  I picked out some squares that were particularly interesting and/or intricate for close up shots.

 

 

 

I particularly liked the strip pieced border in various Japanese prints which really did offset the sashiko squares very nicely.

 

                                                         

There are several books available on the subject of Sashiko and for anyone wishing to try the technique I might recommend the book " Japanese Country Quilting"  Sashiko Patterns and Projects for Beginners.

 There is also a very basic tutorial online if you wish to try your hand at it:

 http://sashikostitchers.com/how-to-sashiko-stitch/


 I would like to thank the Textile Museum for it's policy in allowing respectful photography of many of their in house exhibits.
 

 

 

FROM GEISHA TO DIVA.......PART 2

 

 

                                                                                       

Note, in particular, the third statement above.  " it is taken apart to be
laundered".  Something most people have not given thought to but yes,
the kimono is totally dismantled, laundered and then stitched back together.

                                                       

                                                 The disassembled kimono
                               ( silk with gold thread, embroidered and painted)

For cleaning purposes, a kimono would be disassembled and it's standardized narrow panels sewn together into one long strip up to eleven metres long.  After cleaning, it would be stitched back together by hand.

                                                          

                                                        Kimono stitching

The amorous skills of a geisha were highly valued along with their sophisticated conversation and beauty. They learned their skills from " pillow books" called makura-e that constituted part of their formal education. The images in the books were called shunga or " spring pictures" and were often quite explicit.


                                                         

                                                              

 

                                                      Hairpins and Combs
                                             ( paper, lacquered and painted)

                                                       

 

Formal Kimono known as a Tomesode

 

 

 

Silk crepe fabric with hand painted cranes

 

The crane is associated with long life and used often as a motif in Japanese culture. The crane motif on the tomesode is carried on to the inside of the garment's opening.  This particular tomesode has five kamons on it which signifies extreme formality. The word mon means crest and kamon means family crests.  

 

                                   Three of the five kamons on the tomesode

The emblems are used to decorate and identify an individual or family.  It can be likened to a badge or coat of arms in European heraldic traditions.
The origins of the kamon go back to the eleventh century. High ranking officers of the day began using the designs on their formal wear to be worn at the Imperial court.
When a roll of fabric is dyed for a kimono that will have a kamon on it, discs of fabric are masked with rice paste, to be left undyed (white).  The mon design is then stencilled onto the white disc.  Kimonos always have a centre back seam, so the roll of kimono fabric has half circles left in the correct place at the edges so that, when it is sewn together it forms the mon at the centre back.

Not all of Ichimaru's wardrobe consisted of traditional dress. Pictured below is an over kimono coat made of machine lace.  It is not a traditional haori jacket for it has neither the haori-like collar nor a typical front opening.

                                                            

This garment belongs to contemporary kimono fashion that has been influenced by Western styles. It is made of machined lace with an overall pattern of stylized leaves on a background of black tulle.  The entire coat is lined with fine gold coloured gauze.  I was able to take a very close look at the construction techniques on this jacket and it was amazing. The photo below shows the detail and you can clearly see the black tulle background. It is an intricate and delightful piece of work.
                                                            

 


The final display in the exhibit was a wig made of human hair and elaborately arranged in a traditional style. It was a very important part of the geisha's outfit.
                                                              

Although the wig was displayed in a glass case, which made it awkward to photograph, you can clearly see the individual hairs and lacquer.  The wigs
were combed and reset once a month and great care was taken to ensure not a single hair was out of place.  Dressed with wax or camellia nut oil, the wig was built on a framework of Duralumin ( an aluminum alloy) and lined with netting. Underneath the wig, the geisha's own hair was plastered down with tight bandages.  An uncomfortable thought indeed!
                          
                                                              

                                                           
I discovered in my forays into kimono research that there had been a book written called " The Kimono of the Geisha-Diva Ichimaru".  It was collaboratively researched and co-authored  by Barry Till, Michiko Warkentyne and Judith Patt, all of whom are from the curatorial department of the Art Gallery of Greater Victoria, the source of the above exhibit. Not only is it a photographic and biographical compendium of the life of the fascinating Ichimaru, but it also contains detailed information on kimono construction, materials, dyeing and stitching techniques along with styles and cultural connotations.  I believe it is now out of print and it is also like hen's teeth to find.  However, after a great deal of legwork, I have managed to find a used copy and it is currently winging it's way to me.

Another book which might interest you ( and much easier to obtain) is The Asian Mystique ( Dragon Ladies, Geisha Girls and Our Fantasies of the Exotic Orient) by Sheridan Prasso.  It is a compelling read and an education in itself. In the book, Prasso challenges cultural and political stereotypes of Asia that have dominated Western thinking for centuries.....our impressions from Western literature, the stage and screen icons, the submissive, sexual geisha, the dragon lady dominatrix and the portrayal of Asian males as effeminate and asexual. She interviews Asian women from all walks of life and we see how they are usually very different from the fanstasies and stereotypes we've been indoctrinated with. This would also be an excellent book for anyone who is involved in or interested in gender studies.

 

 

 

 

 

 

 

 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 

 

 

 

 

 

FROM GEISHA TO DIVA ......PART 1

My ongoing research into restoring/repurposing an old family kimono has taken me down many paths and resulted in several distractions!  Close to five years alone have been invested in a fabric search! The distractions, however, have been fascinating and taken me on a journey into new worlds of discovery and learning.  I have finally reached the point where some preliminary
 hands-on work has begun and I am approaching it with some trepidation yet much excitement.

In recent months, my search for information took me, once again, to the Textile Museum in Toronto. I arranged my trip to coincide with a timely exhibition  " From Geisha to Diva, The Kimonos of Ichimaru ".  I thought it might be inspirational and found it to be that and a great deal more.

The exhibit, which was organized and circulated by the Art Gallery of Greater Victoria,  explores the fascinating life of Ichimaru ( 1906 - 1997).  This beautiful lady with a very strong sense of self, was one of the most famous geishas of the 20th century and was reknowned for her nightingale-like singing voice. Her story is told via this collection of splendid kimonos and other personal effects.

                                            

                                                          
                                                             ICHIMARU  

Ichimaru left geishahood around 1930 aspiring to a career as a full time recording artist.  She elevated her new musical career by studying music with the best teachers from Tokyo's " floating world" otherwise known as the pleasure district. Diva that she was, she continued to perform in full geisha regalia.  Combining her talents as a vocalist and musician with her experience as a geisha, she went on to international fame and distinction whilst becoming an icon of Japanese popular culture. Adept at adapting to changing mediums, Ichimaru easily transitioned from a popular radio star in the 1950's to a frequent television guest in Japan from the 1960's well into the 1980's.

The magnificent hand crafted kimonos on display revealed her unique style and taste.  It also showed her strong sense of identity and daring, in that she broke many traditional rules regarding the culture of wearing specific clothing items. The exhibit also included ephemera, documentary materials and personal accessories which gave insight into this fascinating woman's life and Japanese culture in general.

Let's take a walk through the exhibit:

                       

                                         This group display was featured in the  
                                     opening room of the exhibit. It was delicately
                               roped off without impeding one's view of the kimonos.

                                                    

                                A semi-formal kimono known as a " Homongi "
                                       Made of silk crepe with gold threads


                                              

                                        Young Ichimaru playing the shamisen


                         

                                                        Four obis on display.

 An obi is a sash for traditional Japanese dress, both for men and women
and worn as part of the kimono.  There are names for specific types of obis and there are many of them.  In addition, there are ten ways to tie an obi and different types of knots suited to specific occasions and the type of kimono being worn. The most colourful obis are usually worn by unmarried women and a fancy occasion obi can cost more than a complete outfit.

                                                   Close up of the wisteria obi
                                                made in a Tsuzure weave with silver
                                            thread. The technique is from the Kyoto
                                                      region of Japan.                      
                                                       
                                                                                                   

                                       

 

                                                 Semi Formal Kimonos

                                                             

                                         Semi formal kimono called a furisode,
                                  which literally translates as " swinging sleeves "

 The furisode is distinguishable by it's long sleeves which range from 85 cm to 114 cm and the garment dates back to the 1500's.  Traditionally, long sleeve kimonos were meant to be worn by young unmarried women. By wearing a furisode, a young woman signified that she was both single and a legal adult, thus available for marriage. This rule was not followed by
Ichimaru who wore them well into her '40s.

                                                             

                                       Close up of silk and goldwork embroidery
                                                     on the above furisode
                                                           
                                                       

 

                                           This dramatic semi formal furisode
                                           had to be my favourite in the exhibit.
It is even more stunning in reality than in the photos. It was the most beautiful quality silk festooned with peonies, phoenix, paulownia and cherry  blossoms, all exquisitely hand embroidered.  It is to be worn with a
bold red obi with a bird design ( which did not accompany it in the exhibit).

                                                             

                                             Detail of the silk embroidery work.

                                                           

    
                                             Close up of the goldwork phoenix

                                                        

                                  
                                           This picture shows the fine gold cord
                                           in more detail and you can see the tiny
                                           stitches used to couch it down.
                                


 There's a great deal more to share so I thought it best to cover this exhibit in two posts so as not to overwhelm my readers with too much visual overload!  Part two will be up within the next day or so. More beauty and information to come!