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!


                                                  

 

       

PART 2 - David Bowie IS

Picture of advertising poster
taken outside of AGO.
David Bowie, 1973
as Aladdin Sane.





While there were many facets to the Bowie exhibit, I have put most of the emphasis in my blog posts on the costume and textile aspects of the show.  There is a great deal online regarding the exhibit and I will add some links at the end of the last posting so you can follow up on further information if you wish to.

Although there were some integral designers featured in the exhibit, David Bowie himself designed or had a hand in the designing process for several of his stage outfits.  He also was the creative director of both the visual and musical elements of his work.  In an interview with William Burroughs in 1974, Burroughs asked Bowie " Do you do all your designs yourself?"  To which Bowie replied " Yes, I have to take control myself. I can't let anybody else do anything, for I find that I can do things better for me." 

From the Exhibit:
  "His influence on contemporary culture is arguably greater than any member of his generation.  His contribution to music, performance, fashion and design are milestones of our era.
    David Bowie showed us we could be who we wanted to be. In the 70's he promoted individualism and freedom of sexuality. He continues to inspire artists, designers, musicians and many followers with his distinctive persona and style. "





I was surprised to see how many of Bowie's early stage suits were made from quilted material or had quilting elements within the designs. Although unique at the time, they must have been exceedingly hot under the stage lighting.  Two suits in particular stood out in the exhibit.

The first was  the blue, red and gold 2 piece suit created by Freddie Burretti for the Ziggy Stardust Tour and Bowie's  " Starman" performance on Top of the Pops in 1972.





 






You can see in the close up photo that the fabric is obviously commercially quilted as opposed to hand or
machine designed quilting.








The second quilted suit was designed by Bowie himself and was the green and white suit he wore on the cover of The Rise and Fall of Ziggy Stardust album.









Freddie Burretti cut the pattern and the clothing was sewn by Burretti and Sue Front, who baby sat for the Bowies.  David found the geometric dark green patterned on white fabric at a street market in London.




                                                           

Again, as you can see in the close up, the fabric appears to be commercially quilted.







Interestingly enough, the suit was later tinted turquoise by the album's graphic designer.

Freddie Burretti, who designed many of Bowie's clothes, both onstage and off met David at the Sombrero, a gay bar in Kensington ( London).  Freddie was a young tailor and fashion student who worked for a Greek tailor on the King's Road.  He was a dapper and strikingly handsome chap himself.

Burretti designed the early Ziggy Stardust costumes as well as signature suits that Bowie wore off stage. Bowie collaborated on several designs with Burretti and admitted that their earlier designs were influenced by the film, A Clockwork Orange.



There is no doubt that David Bowie had a wonderful slim line physique which was a designer's dream.  The beautifully tailored suits fit him like a dream!  On display in the exhibit was an unfinished jacket by Burretti which showed off some of the inner workings of the design.  Along side it was Burretti's measurement book opened to the David Bowie page.  For the real Bowie afficionados  I have copied the details exactly from his book for you:

Chest          34 1/2 "                                    
Waist          26 1/2                                      
Seat            35 1/2                                     
Shoulder     6                                                  
Sleeve 1      24 1/2                                          
Sleeve2       32                                                                                                                                                                                                             
1/2 back      8 1/2
Cross back  14
Inside leg     35
Outside leg  45
Thigh           19
Wrist            8
Biceps          11 1/2                               
Neck             14                                                                      
Nat waist      16
Jkt length      29
D.S.               8

After being spell bound by so many fashion statements, we wandered along to a rather magical room.  There were a couple more fashion mannequins positioned as you walked in but your eyes immediately focussed on a large black and white floor that was divided into 9 carpetted squares and surrounded by a tiled walkway. On the wall directly in front of those squares were 9 large monitors.  When you stood on a particular square on the floor, a monitor that was somehow electronically configured to that floor square, would suddenly flash on and play a video of David Bowie performing one of his hit songs.  When you moved to a different square, your headphones would kick in another song and the monitor associated with that square would come on.  It was rather like a nerdy tic tac toe game and quite enjoyable. We found ourselves compelled to stay there for a while and play like little kids jumping from one square to another. Many other adults joined in the game and the comraderie was exceptional. Great stuff!






To complete Part 2 of the Bowie postings, I will leave you with a very striking crimson suit created by Diana Moseley in 1987  for The Glass Spider Tour.  Diana was the personal costume designer to Freddie Mercury of the rock group Queen as well as a collaborator and friend to Bowie. Unfortunately, there was not much information forthcoming re the design or fabrics at the exhibit or online but the cut and styling was exquisite. The red suede shoes with silver toes and heel caps complimented it perfectly too.  Sadly,no info on them either.

                                                       


 







       Detail, red suit















                                          

 

David Bowie IS - PART 1

January 8, 2014                                            As promised for Carol in Anglesey, Wales


Happy 66th Birthday David Bowie!


What better day than to finally kick off my review and stories about the amazing David Bowie exhibit I experienced in Toronto at the Art Gallery of Ontario. It's been a while in the works due to other obligations outside of blogging ( as further posts will attest to ) but I've finally had a chance to sit down and go through the 21 pages of hand written notes I took, assorted diagrams, details and photos.  However, photos are limited, borrowed or linked to,  due to the fact that cameras were not allowed inside the exhibit.

The exhibit entitled " David Bowie Is " was on loan from the Victoria and Albert Museum, fondly referred to as The V & A,  in London, England.  The exhibit in the UK was a smash hit and sold out - over 500,000 people attended.  It was in fact so popular,  they decided to create a BBC TV documentary covering it,  due to the thousands of people expressing disappointment at not being able to secure tickets.

 I was on a wait list for three months to get first dibs on tickets.The tickets were timed admission and we were to be there for 12:30 pm.

The exhibit housed more than 300 objects ( including 50 stage costumes), photographs, hand written lyrics and set lists, film, music videos, set designs, instruments, album artwork and Bowie's own sketches and diary entries. The Bowie Archives itself houses some 75,000 objects and the V & A were given unprecedented access to it.
The co-curator at the V & A, Victoria Broackes, explained that the idea behind the exhibit was to " result in a multi-sensory collision of art, music and pop culture" and in that regard, they succeeded magnificently!

I'll be honest in that I was never a die hard Bowie music fan, although  I did LIKE his music and I was privy to a concert of his in the UK but I was more intrigued by the man himself, his chameleon-like persona,  his remarkable costumes and trendy off stage clothing.  Moreover, I was taken by what appeared to be his fearless expression of individuality and his flagrant openness in flouting his sexual orientation. He was a breath of fresh air , a trend setter and a fascinating phenomenon - one to be watched!

Arriving at the AGO in a timely manner, we were very impressed with the overall organization of the exhibit and the efficiency and courtesy of the staff.  There were very little wait times and no major line ups due to the advance set times of admission, the screening and processing of tickets was handled quickly and in orderly fashion. Included in the price of the tickets was an audio headset in which to follow the exhibit which proved to be a boon once we got into the thick of things.  I'm still in awe of the wonder of it all and the electronic particulars and top notch up to the minute details.

My first view of what was to be, were the very dark ominous doors leading to the first room of the exhibits.

But outside of those doors stood a mannequin wearing the fabulous " Tokyo Pop" jumpsuit -  the zig zag stitched Ziggy Stardust bodysuit by Japanese designer Kansai Yamamoto, which was created for the Aladdin Sane tour, 1973. An early indication indeed of the influence of Japonism on Bowie's stage costuming.

It was so much bulkier and heavier than I had envisioned in photographs. You could almost feel the weight of the heavy black vinyl, just looking at it.  It must have felt like being in a sauna under stage lighting. The design was based on a traditional Japanese workman's costume initially.
Bowie's comments on Yamamoto's masterpiece:
" It was everything I wanted - outrageous, provocative and unbelievably hot to wear under the lights" .
    Yamamoto described his liason with Bowie thus :
" It was David Bowie's Western aesthetic and my Eastern aesthetic crashing headlong."




We entered the first room of the exhibit which was filled with early '60's memorabilia.  Bowie's early forays into bands and most interesting conversations by Bowie himself which suddenly popped into our headsets and frankly freaked us out at first.  You just didn't expect to suddenly hear the man's voice explaining his early days.  Everything was set up electronically and the displays were interactive with your headsets, so whatever position you were in facing a display, suddenly the head set would connect, and music would kick in applicable to the display or  a very sexy Englishman would be talking in your ear!  DAVID BOWIE would be talking in your ear! It took one aback a bit at first as you did not control the headset, so you could be happily lost in thought taking in a display and suddenly a man's earthy voice would start taking over your headspace. Bowie talked about his early days and trying to be " with it". He would ride the trains and put paperback books into his suit and coat pockets to show off his esteemed reading material.  At first, he really did not have a clue about them and just thought it looked trendy and cool, but as time went on he actually came around and started to read the books, which fascinated him. He commented that " I saw myself as trendy but not as a trend. I only wanted to be the instigator of new ideas."
The reading list of Bowie's 100 must read books was on display and you can ready more about that here:

http://www.antiquiet.com/music/2013/10/david-bowie-reveals-100-must-read-books-and-plans-the-next-day-extra/

I think one of the most interesting aspects of the entire exhibition was Bowie's collaboration with other artists and designers in fashion, graphics, theatre, art and film. 
Having spent time in England, I recognized so many names that were in their infancy  and are now major players in their respective fields or who became established and have since passed on. Name in point - Alexander McQueen.  It seems the musicians, artists and designers of that time were all in the beginning stages of their careers and it was fascinating to see the interaction and friendships amongst them as they set out to establish themselves.

The famous Union Jack coat made by McQueen for the Earthling Tour of 1997 was on full display at the AGO. It combined elements of Classic British tailoring with an iconoclastic punk aesthetic. And without a doubt, Alexander McQueen was a master tailor. I could look at his workmanship for hours on end.  It is awesome to see in the flesh.







Front and rear views of the infamous Union Jack coat by Alexander McQueen.

 

 

 

Accompanying the coat on display and most endearing was a hand written note from Alexander McQueen to David Bowie which read:

" David:  Sketches are coming ASAP - sorry for the delay.  I will have you a package Wed.  Love, Lee ( and then McQueen's signature) ."

Lee was the name Alexander McQueen was known by to his friends and family.

( * Note: Alexander McQueen sadly committed suicide on February 11, 2010, a week after his beloved Mother died from cancer.  )


PART TWO - to come

 

NEW YEAR GREETINGS 2014

      Sending all best wishes for good health, happiness
      and a very creative 2014 to you all. 

      Stitching with Attitude will resume posting the
      week of January 6th.

      Lots to look forward to!