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Short History Of Japanese Textiles
Silk may be the best known Japanese textile because of its stunning beauty and value for fashioning luxurious kimonos, but in pre-industrial Japan only the nobility and upper classes were permitted to wear silk clothing. In contrast to courtly silk garments, commoners dressed in humble garments made from homespun coarse hemp and cotton fabrics. These same unrefined, handmade textiles were also employed to create utilitarian articles for the home.Introduction
This narrative sets aside the examination of refined Japanese aristocratic silk. Instead, it will focus attention on natural early homespun cotton and hemp indigo textiles of the mid-1800s to the mid-1900s. Often called Japanese folk art textiles, or arts and crafts textiles, these fabrics are associated with the once impoverished Japanese rural population. Such utilitarian fabrics became Japanese peasant clothing and common household textiles. As in the manner of other Japanese folk crafts ( mingei e.g., pottery, lacquer work etc.) what was considered a basic necessity by the Japanese who created and made use of these textiles, subsequently became collectable textile art for modern-day Japanophiles.The Historical Importance of Hemp and Cotton Textiles
From very ancient times until the 1600s, Japanese peasants wore clothing made from common hemp, a locally grown and processed bast fiber.
Rural Japanese crafts women spun the hemp and hand loomed the fiber threads into usable fabric which was turned into everyday farm field clothing and household articles. The Japanese did not distinguish between linen and hemp, the two have similar fibers and appearance and are referred to by the same Japanese word, asa. Hemp fabric was the only material available for general use in Japan until the introduction of cotton. The Japanese imported raw cotton and finished cotton goods from China from the 15th century and also from India somewhat later. 
This situation lasted until 16th century when the Japanese adopted Chinese cotton cultivation methods and began to produce cotton domestically. Cotton farming quickly became established in the warmer western regions of the Japanese archipelago where the moderate climate and fertile land were well-suited for growing cotton plants.Spurred on by the ruling classes, spinning became a fast-growing cottage industry for Japanese peasants with central production hubs developing initially in rural Kyushu Island, then spreading to other warmer regions. These home industries sold expensive and limited amounts of homemade cotton fabric throughout the country.
Gradually cotton production increased with the introduction of more efficient home-based spinning wheels and weaving looms. Cotton fabric manufacturing became geographically more widespread
which resulted in a significantly reduced cost for cotton cloth. Domestic cotton fabrication produced comfortable cotton cloth as a replacement for the ubiquitous coarse hemp fabric.Japanese rural females assumed most of the cotton spinning and weaving duties in their homes. This work was done for personal consumption and as a means of earning a primary or secondary income for their families.
By the 1870s, the Japanese had imported modern cotton milling equipment from Europe. This was done rather late when compared to the West where factory style milling was already well established. A few large commercial cotton spinning and weaving mills operated near Osaka. The initial production of milled cotton fabric was priced at a premium. This was due to the material's excellent quality and high manufacturing expense. The price of cotton fabric was too costly for most ordinary Japanese who depended upon less costly homespun fabric. As a result, the large Japanese textile mills did not turn out the bulk of the cotton threads and fabric for the general marketplace of the period. That task remained firmly in the hands of the rural Japanese textile cottage industry, in the homes of the rural peasants.
1500s: Recycled Cotton Goes North
Cotton was a precious commodity in the Northern Japanese provinces, where the climate was too cold to permit the cotton plant to thrive. The people living in these provinces, who could afford the high cost of cotton, were forced to seek suppliers outside their region in order to purchase the much desired cotton fabric. Beginning in the Edo Period, seafaring Japanese traders sailed up and down the coastal waters trading in used, discarded indigo cotton cloth. This cloth was acquired in Western Japan and then sold into the poorer Northern rural and seaboard communities. Japanese farm women purchased these used fabrics and gave them new life by remaking them into boro field clothing (noragi), futon covers (futongawa) and other useful household textiles.Japanese Sewing and Weaving Techniques
Recycling of cotton textiles has a long history in Japan, going back at least to the early 1600s. In the Northern Japanese islands industrious Japanese women worked with used cotton indigo dyed fabrics to perfect several sewing techniques in order to give renewed life to the secondhand cloth. They created new uses for these discarded materials by layering several pieces of cloth, attaching each together with sashiko stitching and then, if needed, boro patching them. Subsequently, these patchwork textiles could then be reassembled into warm clothing, futon covers and other common household items for the family's use. The resulting soft cotton textiles were a welcome relief from the harsh textured hemp fabrics native to the region.Sashiko
Sashiko is a traditional form of Japanese hand sewing that uses a simple running stitch sewn in repeating or interlocking patterns, usually piercing through several layers of fabric. From the 17th century onward, creative rural Japanese seamstresses discovered an important feature of sashiko stitching. If the layers of fabric were held together with sashiko stitching, home made hemp and cotton clothing provided much better protection from the elements, lasted longer and even added a creative and individual flare to their handmade garments. As a result, sashiko grew into a widely favored sewing technique and quickly became established throughout Japan for use as a utilitarian and dramatic embroidery. Thrifty Japanese farm women also employed the sashiko stitch to boro repair common household items like futon covers, garments and pillows. Sashiko stitching is commonly found on boro futon covers, noragi clothing (jackets and vests), aprons, zokin dusting cloths and other Japanese folk textiles. Sashiko thread colors range from white to a deep blue-black. White sashiko thread was used most often with contrasting indigo-dyed cotton fabric.
Kogin sashiko, as seen in the photo here , is the extreme esthetic example of sashiko usually employing white thread stitching over solid indigo fabric for the design.
Sashiko clothing was worn by all members of the lower working classes of Japanese society and carried with it a inferior social status of the communities from which it originated. As a result, sashiko never became fashionable among the middle and upper classes but remained firmly culturally linked to poverty-stricken rural regions.
Country women had few choices of fabrics for use when it came to tailoring their working garments. They might use either (1) locally produced, labor intensive, woven bast fiber materials (asa, mainly hemp) or (2) remnants of discarded cotton fabric that seafaring traders carried northward from the warmer cotton producing areas of Western Japan.Once large quantities of scrap cotton regularly began arriving in Northern Japan, it quickly became the fabric of choice among rural women because it was easier to work with, softer, warmer and generally more versatile than locally grown bast fiber materials. Soft cotton was favored for clothing because it was considered a luxurious fabric as compared to rough and prickly hemp.
Heavy winter-weight fabrics were constructed from cotton remnant fabrics that were attached to each other with sashiko stitching in patchwork styled layers; the more layers, the warmer and stronger the fabric (as seen in the photo above.). Subsequently, rural wives used these newly made larger pieces of sashiko fabrics to fashion cold weather utilitarian working garments for their farmer and fisherman husbands as well as other family members.
Zanshi Weaving (zanshi orimono)
Zanshi textiles represent a unique and resourceful approach within the rich tapestry of traditional Japanese textile crafts. While many Japanese textiles are known for their meticulous planning and execution, zanshi stands out for its unplanned nature and embrace of imperfection.Unlike highly refined textiles such as silk brocades or intricately patterned kimonos, zanshi textiles were born out of necessity and frugality. They were created using leftover threads from other weaving projects, resulting in fabrics with distinctive characteristics such as slubs, uneven looming, and random color combinations. This contrasts sharply with the precise patterns and uniform appearance of many other traditional Japanese textiles.
For example, kurume kasuri, a cotton textile from Fukuoka Prefecture, is known for its carefully planned patterns with a slightly blurred appearance created through a complex resist-dyeing process. Zanshi, on the other hand, achieves its unique look through the random combination of leftover threads, embracing unpredictability in its design.
Similarly, while textiles like saga nishiki (Saga brocade) showcase intricate patterns created through precise weaving techniques using silk and paper threads, zanshi textiles celebrate the beauty of irregularity and the unexpected juxtaposition of colors and textures.
In terms of cultural significance, zanshi textiles share some similarities with other "folk textiles" like boro and sashiko. These techniques, developed by rural communities, emphasize resourcefulness and the extension of fabric life through mending and repurposing. However, while boro and sashiko often involve visible mending and reinforcement of existing fabrics, zanshi represents a creative approach to using leftover materials from the outset of the weaving process.
It's worth noting that zanshi textiles, like many other traditional Japanese textiles, reflect the Japanese aesthetic principle of wabi-sabi, which finds beauty in imperfection and transience. However, zanshi perhaps embodies this concept more overtly than some of the more formal and structured textile traditions.
In the context of Japanese textile history, zanshi represents a grassroots approach to fabric creation, contrasting with the state-regulated and patronized textile production that dominated much of Japan's history. While imperial workshops focused on producing luxurious fabrics for the elite, zanshi textiles emerged from the resourcefulness of rural communities, making use of every available thread.
Today, as with many traditional Japanese textiles, zanshi fabrics have transitioned from being considered "seconds" or substandard items to being highly valued by collectors and enthusiasts. They are appreciated not only for their unique aesthetic qualities but also for the insight they provide into the ingenuity and resourcefulness of rural Japanese textile traditions.
Sakiori Weaving
In the harsh, cold regions of Northern Japan during the 18th century, resourceful farm women developed an ingenious textile craft that embodied the profound Japanese cultural philosophy of resourcefulness and sustainability. Sakiori, a traditional weaving technique, emerged as a practical and artistic method of transforming discarded fabric scraps into functional and beautiful household textiles.The term sakiori itself beautifully encapsulates the process: "saki" meaning to tear or rip, and "ori" meaning to weave. This technique went beyond mere recycling, representing a deep cultural approach to material conservation. Farm women would meticulously collect worn-out clothing, bedding, and other textile remnants, carefully stripping these materials into narrow strips that could be rewoven into new, purposeful items.
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These skilled artisans would create remarkably versatile textiles ranging from narrow woven lengths of 5 to 14 inches wide. Their creations included practical household items such as warm rugs, protective kotatsu covers, work jackets, vests, and informal kimono obi. While indigo was the most prevalent color, these weavings often burst with vibrant hues as weavers incorporated brightly dyed fabric scraps, creating visually striking and unique textiles.
The sakiori technique differed subtly from traditional rag weaving practices. Unlike American rag weaving, which typically uses only fabric in the weaving process, Japanese sakiori incorporated a more nuanced approach. Weavers would use cotton cloth pieces for the weft (width) and cotton or occasionally hemp yarn for the warp (length), carefully rolling fabric strips into 13 to 16 inch lengths before weaving them together.This craft profoundly embodied the Japanese philosophical concept of "mottainai" - a powerful cultural principle that emphasizes avoiding waste and maximizing the utility of resources. Mottainai goes beyond simple recycling; it represents a deep respect for materials and a commitment to extending an object's lifecycle through creative reimagining. In sakiori, this philosophy manifested through transforming what might have been discarded into warm, functional, and often beautiful textiles.
The practice was particularly prevalent among rural communities where resources were scarce and every material possession held significant value. Farm women, facing challenging environmental conditions and limited economic resources, developed sakiori as a practical survival strategy. Their woven creations were not merely functional but represented resilience, creativity, and an intimate connection with available materials.
Sakiori textiles from the late 1800s and early 1900s, particularly those created by fishermen, firefighters, and field workers, often featured extensive sashiko stitching - another traditional Japanese textile technique involving decorative reinforcement stitching. These garments and accessories became more than just clothing; they were tangible representations of cultural resourcefulness, personal history, and communal craftsmanship.
By transforming worn-out fabrics into new, useful items, these women practiced a form of textile recycling that was both environmentally sustainable and aesthetically meaningful. Each sakiori piece told a story - of its previous lives, of the hands that carefully transformed it, and of a culture that valued preservation and creativity over disposability.
Today, sakiori stands as a powerful testament to Japanese cultural values of resourcefulness, sustainability, and artistic innovation. It reminds us that beauty and utility can emerge from what others might consider worthless, and that creativity can transform the most humble materials into objects of remarkable significance..
Farmer's Clothing Jackets & Vests (noragi)
In the rich tapestry of traditional Japanese rural life, farm women embodied the profound cultural concept of mottainai - a deep respect for resources and an ethos of avoiding waste - through their textile production and clothing creation. These industrious women transformed cotton into essential garments and household items through an intricate process of spinning, weaving, and stitching that was far more than mere practical labor; it was a deeply meaningful cultural practice passed down through generations.The noragi tradition represented a comprehensive approach to textile production that reflected the resourcefulness and creativity of Japanese farm women. By spinning and looming their own cotton fabric, these women ensured their families were clothed while simultaneously creating potential economic opportunities through fabric sales. The garments they crafted - jackets, vests, and monpe pants - were not simply clothing, but expressions of familial care, cultural continuity, and practical necessity.
Indigo, with its deep blue hues, dominated the color palette of these textiles, reflecting both aesthetic preferences and practical considerations. The intricate patterns like kasuri (ikat), katazome (stencil-dyed), and shibori (tie-dye) were more than decorative elements; they were visual narratives that transformed mundane fabric into meaningful artifacts. These patterns served a psychological purpose, introducing beauty and symbolic significance into the challenging rhythms of agricultural life, helping women find moments of joy and artistic expression amid demanding physical labor.
The mottainai philosophy was profoundly embodied in this textile tradition. Every scrap of fabric was potentially valuable, with women ingeniously combining new materials with existing fragments to create durable, functional clothing. Nothing was discarded without careful consideration of its potential reuse. This approach went beyond mere economic necessity; it represented a holistic worldview that respected material resources and recognized the inherent value of careful, thoughtful creation.
Women's textile work was not confined to clothing. They crafted an array of household items including futon covers, curtains, furniture covers, and aprons - each piece a testament to their skill and resourcefulness. These items were not just functional but represented a form of domestic artistry that transformed simple cotton into objects of utility and aesthetic pleasure.
The labor involved in creating these textiles was extensive and demanding. Japanese farm women worked not only in household production but equally alongside men in agricultural fields, their sturdy noragi clothing facilitating their comprehensive economic contributions. The clothing they created was designed for durability, comfort, and practicality, reflecting the challenging physical demands of rural life.
This textile tradition was fundamentally a form of intergenerational knowledge transfer. Mothers meticulously taught daughters spinning, weaving, and stitching techniques, ensuring that these critical skills and cultural practices continued. Each garment carried within its weave a lineage of feminine skill, resilience, and creativity, connecting past and present through the tangible medium of fabric.
The vintage farm clothing that survives today serves as a powerful material testament to this rich cultural practice. These garments are not merely historical artifacts but living documents of Japanese rural women's ingenuity, resilience, and artistic expression. They embody a way of life characterized by resourcefulness, creativity, and a profound respect for materials - principles that continue to resonate in contemporary discussions about sustainability and mindful consumption.
Uniquely Japanese, Boro Futon Covers
Boro, a Japanese term meaning "tattered rags," represents a rich Japanese tradition of textile repair and reuse that offers profound insights into Japanese cultural history and economic conditions. This practice, which involves the meticulous patching and mending of cotton bedding and clothing, allowed items to be used far beyond their expected lifespan. Similar to the early patchwork quilts of North America, boro textiles provide a tangible glimpse into the living standards of Japanese families and the economic realities of their time.In rural Japanese households, frugal wives would diligently repair the family's sleeping futon covers through the boro technique. This process involved carefully patching fabric scraps over worn areas and holes in the material. To enhance the durability of these repairs, they would often incorporate sashiko sewing, a traditional Japanese stitching method that added strength to the fabric.
The boro technique was not limited to futon covers but was also applied to noragi, the clothing worn by farmers. By employing this method, the lifespan of work clothes could be extended significantly, and the additional layers of fabric provided much-needed warmth for laboring in harsh, cold conditions.
In the aftermath of World War II, as Japan struggled to rebuild and recover from the devastation, boro textiles became a source of shame for many Japanese people.
These utilitarian items served as stark reminders of the country's impoverished past, a history that many were eager to leave behind as they looked towards modernization and economic growth.However, perspectives on boro textiles have undergone a significant shift in recent years. Today, both Japanese and international collectors view these pieces as valuable artifacts, representing a lost folk craft tradition. These textiles are now cherished not only for their aesthetic appeal but also for the stories they tell and the unique window they provide into Japanese folk culture and history. Each patch, stitch, and repair carries within it a narrative of resilience, resourcefulness, and the ingenuity of generations past, making boro textiles highly sought-after items in the world of textile art and cultural preservation..
Kaya Mosquito Netting
From the mid-18th century to the 1950s, Japanese society relied heavily on mosquito netting, known as kaya, as a crucial defense against the pervasive summer mosquito population. These protective nets were primarily crafted from hemp fibers, although cotton and less common bast fibers derived from tree and bush bark were also utilized in their production. The process of creating kaya involved homespun and hand-loomed techniques, resulting in a highly porous textile that effectively discouraged flying insects while allowing for ample air circulation.
Kaya came in various sizes to accommodate different sleeping arrangements. Large nets could envelop an entire family's sleeping area, while smaller versions were designed to drape around individual futons. The importance of kaya in Japanese culture extended beyond its practical use, often taking on artistic and even romantic connotations. Renowned Ukiyo-e artists from the 17th to 19th centuries frequently incorporated kaya into their paintings, both as background elements and central subjects. Some artists even included kaya in their erotic works, further emphasizing its cultural significance.
Kaya was important and highly regarded in Japan for its help to protect against the mosquito that it often took on an artistic tone. Famous 17th ~ 19th century Ukiyo-e artists selected kaya as background or subject of their paintings. There was even a romantic flavor about kaya in that these same artists would include kaya in some of their erotic works. Here are a just a few kaya Ukiyo-e examples.
Ukiyo-e, "pictures of the floating world"), is a genre of woodblock prints and paintings that flourished in Japan. It was aimed at the prosperous merchant class in the urbanizing Edo period (1603–1867). Amongst the popular themes were depictions of beautiful women; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica. Wikipedia
Even Japanese poets found inspiration from kaya. An old poem attributed to the famous poetess Chiyo from the Edo Period. Having been challenged to make a poem of seventeen syllables referring to a square, a triangle, and a circle, she is said to have immediately responded,
"Detaching one corner of the mosquito-net, lo! I behold the moon!"
Kaya no te wo
Hitotsu hazushite,
Tsuki-mi kana!
The poetess envisioned the top of the mosquito-net, suspended by cords at each of its four corners, represents the square;--letting down the net at one corner converts the square into a triangle;--and the moon represents the circle.
The hemp used to create kaya came in a range of colors, including beige, green, indigo, and brown, with some featuring small stripes running along the fabric panel. Over time, these colors would fade into charming, muted tones, adding to the aesthetic appeal of the netting. The thickness of the hemp fibers used in kaya production varied, resulting in different characteristics and uses. Thicker fibers produced bulky and heavy nets that, while more challenging to hang, remained stable throughout the season. In contrast, kaya made from thinner fibers were lighter and more portable, making them popular among travelers.
Interestingly, kaya held significance beyond its practical use for some individuals. Japanese poet and Zen Buddhist monk Ryokan (1758-1831) was said to have slept under mosquito netting in the summer, not to avoid insect bites, but to prevent accidentally crushing mosquitoes during his sleep. This practice aligned with Buddhist principles prohibiting the killing of any creatures, including insects, and demonstrated the deep cultural and spiritual connections associated with kaya.
The legacy of kaya continues to influence contemporary Japanese art and fashion. Many artists and clothing designers incorporate traditional mosquito netting into their
creations, blending historical craftsmanship with modern aesthetics. For example, some designers have fashioned unique garments, such as vests, by combining various colors of mosquito netting with other materials like indigo-dyed cotton, resulting in one-of-a-kind piece that pay homage to Japan's rich textile heritage and boro folk art traditions. Numerous contemporary Japanese artists and clothing designers work kaya into their creations. like the vest garment pictured here. The designer incorporated several different colors of mosquito netting and some cotton indigo to fashion this one-of-a-kind boro folk art vest.Cotton Sakabukuro Sake Bags
Sakabukuro, the traditional sake filter bags, have a rich history deeply intertwined with Japanese sake brewing culture. These sturdy cotton canvas bags, played a crucial role in the sake-making process for centuries. During the production of sake, brewers would fill these bags with moromi, the fermented rice mash, holding between 5-9 liters.
The process of using sakabukuro was known as shizuku, or the drip method. Brewers would fill the bags with nigori-sake (unrefined sake) and hang them, allowing the pure seishu (refined sake) to slowly drip out into collection vats below. This method served as a natural filtration system, effectively separating the clear sake from the remaining sediment in the fermented rice brew.
Sakabukuro's durability was enhanced through a meticulous maintenance process. Every summer, skilled specialists would apply fermented persimmon juice, known as kakishibu, onto the bags. This treatment imbued the sakabukuro with natural strengthening agents and antibacterial properties. The repeated application of kakishibu over the years caused a remarkable transformation in the bags' appearance and texture, giving them a distinctive variegated brown leather-like quality.
The craftsmanship involved in maintaining sakabukuro extended to their repair as well. Thrifty sake brewers would extend the lifespan of damaged bags through a technique called mukatenui. This involved hand-sewing patches onto the bags using thick cotton threads, ensuring that the sakabukuro could continue to serve its essential function in sake pressing.
Interestingly, the unique properties of used sakabukuro fabric caught the attention of designers in recent decades. About 30 years ago, designer Tanaka Hokyo discovered the exceptional durability and unique texture of fabric from used sake bags. He began producing bags from this material, creating approximately 30,000 over the years. However, as sake production methods evolved, obtaining traditional sakabukuro became increasingly challenging. In response, Tanaka Hokyo developed a 'new' sakabukuro fabric that mimicked the 'lived-in' quality of the authentic bags while being more readily available.
The significance of sakabukuro extends beyond their functional role in sake production. These bags have become valued artifacts, representing the rich tradition and meticulous craftsmanship of Japanese sake brewing. Today, they are often repurposed or used as inspiration for contemporary designs, serving as a tangible link to Japan's cultural heritage and the time-honored art of sake making.
Komebukuro Rice Bags
Komebukuro, a traditional Japanese drawstring bag, holds a significant place in the country's cultural history. These bags played a crucial role in religious and social customs, serving as vessels for rice offerings during important ceremonies at temples. Beyond their religious use, komebukuro were also employed as gift containers for special occasions, carefully prepared to present tokens of affection or celebration to close friends and family members.
The craftsmanship of komebukuro reflects the resourcefulness and artistic sensibility of Japanese culture. Each bag was a unique creation, hand-sewn using a patchwork technique that incorporated a diverse array of fabrics. This patchwork style not only made each komebukuro visually striking but also allowed the maker to utilize various fabric scraps efficiently. The bags were typically secured with cotton drawstring cords, ensuring the contents remained safe during transport.
Despite their historical significance, the tradition of using komebukuro has largely faded from contemporary Japanese society. The practice of carrying rice offerings to temples or presenting gifts in these handcrafted bags has become increasingly rare. This decline mirrors the fate of many other Japanese customs that have struggled to maintain relevance in the face of modernization and changing social norms.
Today, the creation of komebukuro bags has become an uncommon craft, with few artisans continuing to produce them. While no longer a part of everyday life, these bags have found a new appreciation among collectors and enthusiasts of traditional Japanese textiles. The komebukuro serves as a tangible link to Japan's rich cultural heritage, embodying the values of craftsmanship, resourcefulness, and the importance of gift-giving in Japanese society.
Indigo Dye
The Japanese discovered that cotton was a difficult fabric to dye except with indigo. Consequently, organic indigo dye was widely used throughout Japan as a coloring and designing agent for cotton textiles. Indigo dye became especially popular in the Edo period (160
3 - 1867). The indigo fabric dyeing process lasted a week or more and required individual cotton pieces to be immersed and removed from the indigo dye vat more than twenty times. This process assured the dark blue color was firmly fixed in the material. Over time, use and washing, the dark blue appearance gradually faded, producing a visually striking variegated indigo coloring, a unique feature of indigo favored among collectors. In addition Japanese peasants preferred indigo blue shades for their textiles because they felt the color mirrored the hue of the oceans surrounding the Japanese islands, a symbol that was both culturally and economically important. The Japanese made indigo dye through a natural organic process by fermenting the native indigo weed which transformed the plant material into liquid indigo dye. This pre-industrial method of making indigo dye required that the indigo plants remain in a vat where a culture soup of heat loving bacteria disintegrated the plant material, while drawing out the dark indigo dye. Interestingly, Japanese believe that indigo dyes contains properties that naturally repel insects and snakes. This belief is the primary reason why Japanese farm women prefer wearing indigo clothing when working in the fields.Kakishibu Dye
Kakishibu is a natural reddish-brown organic liquid prepared from the fermented juice of unripened green persimmons. Japanese have utilized kakishibu, not only as a dye for textiles, but also as a preservative and weather-proofing agent for wood and washi (a type of paper traditionally made by hand) since the Heian Period (782 – 1182 AD).
The Japanese technique of combining reddish-brown kakishibu color with indigo produced exceptionally interesting color pattern variations as seen in some cotton katazome fabrics. Making a textile with multiple dyed colors required more skill than dyeing solely with a single color; as a result, these fabrics became more desirable and subsequently more expensive. Both indigo and kakishibu are colors that are derived from the natural pigments of plants and botanical products. The Japanese did not use chemicals to manufacture these dyes, but rather applied a variety of organic occurring fermenting processes. Other organic dye colors were extracted from plants, animals, and minerals found in the local regions. These colors had limited applications while indigo and kakishibu were the most popular dyes for cotton folk textiles.
Cotton Textile Design Techniques: Shibori
Shibori is a Japanese term for dyeing cloth with a unique design by binding, stitching, folding, twisting, or compressing the fabric. Shibori in the West is associated with what is commonly called tie-dyeing. Shibori includes binding methods of dyeing, known as bound resist. For the Japanese, shibori is a highly refined and precise dyeing method.
Kasuri
Kasuri fabric is woven with fibers dyed indigo specifically to create patterns (splash) and images (e-gasuri) in the fabric. It is an ikat technique, meaning that during the dyeing process, threads are bundled together in a predetermined way so that when loomed, a geometric pattern or picture design is revealed in the weaving. The Japanese are credited with originating the picture design technique. Kasuri designs appear slightly fuzzy, an idiosyncratic feature of this weaving technique.Katazome
Katazome is a traditional Japanese textile dyeing technique that has been refined to an exceptional level of artistry and precision. This method, which originated in Japan, involves the use of a resistant rice paste applied through intricately designed paper stencils known as katagami. The process begins with the creation of a special paste mixture, combining rice flour and rice bran to form a sticky substance that serves as a resist for the dye. The artisan carefully forces this paste through the katagami stencil onto the fabric, creating a precise pattern. Once the stencil is removed, the paste-covered fabric is left to dry completely. The next step involves brushing a sizing solution made from soybean liquid onto the fabric, which helps to set the design and prepare the material for dyeing.
After the fabric has thoroughly dried, the dyeing process commences. The chosen color is meticulously applied by brush, allowing the dye to penetrate the areas of the fabric not protected by the rice paste resist. This step requires great skill and attention to detail to ensure even coverage and vibrant coloration.
The final stage of the katazome process involves washing away the dried rice paste resist. As the paste is removed, it reveals the original color of the fabric in the areas where it was applied, creating a striking contrast with the dyed portions. This results in a beautifully patterned textile that showcases the intricate design of the katagami stencil.
Japan's contribution to the development and refinement of the katazome technique is unparalleled. Over centuries, Japanese artisans have honed this craft to achieve a level of sophistication that is widely recognized and admired. The precision of the stencil work, the quality of the resist paste, and the skillful application of dyes have all contributed to katazome's reputation as a highly esteemed form of textile art.
Katagami
Katagami is the Japanese word for a handmade katazome paper stencil. The word is comprised of 2 words. The first word “kata” means “pattern or template” and the second “gami” represents paper. Therefore the Japanese word denotes paper template or in English, stencil. The katagami was made of “washi”, handmade traditional Japanese paper. The paper was infused with kakishibu (dye) which enhanced its strength and stiffness. A skilled pattern craftsman hand cuts a design into the sheet of katagami paper. Because of the delicate paper patterns, a fine silk thread lattice is overlaid on the katagami so that the stencil is held in place on the fabric while the fabric goes through the dyeing process.Tsutsugaki
Tsutsugaki is a Japanese term for the practice of drawing designs with rice paste on cloth, dyeing the cloth, and then washing the paste off. The paste is applied through a tube (the tsutsu, similar to the tubes which are used by bakers to decorate cakes). The rice paste is composed of glutinous rice powder, rice bran, and lime. This mixture is then steamed., It is then very sticky and adheres easily to fabric because of its high starch content. White cotton is normally the fabric of choice with indigo dye applied, resulting in a white on blue design. Often designs are patterned after a family crest, or a name in kanji, flowers and trees, or creatures from Japanese mythology, such as the tortoise or the crane.Sarasa
Japanese Sarasa had its origins in the 16th century and the term is derived from the Portuguese word for calico. During the Edo Period, Portuguese traders introduced cotton calicos from India into Japan where these beautiful, exotic fabrics quickly became enormously popular among wealthy samurai and merchant classes. These calicos, with vivid colors and striking abstract geometrics, were very distinctive to the Japanese eye when compared with traditional cotton and hemp indigo fabrics. Indian calicos were expensive and therefore small pieces were used to make valuable and colorful items like bags for tea ceremonies, tobacco cases and pouches. Already skillful at making distinctive textiles, the Japanese easily replicated the hitherto expensive Indian calicos into their own style and production techniques. While maintaining the eye-catching floral and scallop Indian fabric patterns, Japanese textile makers applied their indigenous katazome (rice paste resist dyeing and stencils) textile printing skills to making domestic sarasa, characterized by shades of kakishibu (madder, reds and browns) with distinctive Japanese floral designs and geometric shapes. As domestic sarasa became widely produced, less expensive, and more common than the imported calico, sarasa became a standard for wider use among the Japanese population. Sarasa was used in ordinary domestic applications like futon covers and wrapping cloths.
Traditional Symbols in Japanese Textiles
Both the turtle and crane are symbols of long life and good luck in traditional Japanese wedding ceremonies because of the auspicious traditional meaning associated with these animals. The origami crane is a well known worldwide symbol of peace. According to Japanese tradition, if one folds 1,000 origami cranes, their wish for good health will be granted.
Both the turtle and crane motifs are frequently seen in Japanese katazome and kasuri cotton textile patterns. Another less frequently seen image in these textiles is the sea bream fish (tai) which symbolizes happiness. Sometimes other symbols like monkeys or castles appear on fabric. Arabesque or scrollwork filigree of Indian origin was another popular symbol found on cotton textiles, usually katazome. 
The chrysanthemum flower, introduced into Japan in the 8th century, became another common design for Japanese textiles. The chrysanthemum crest is a general term for the flower's blossom design; there are more than 150 different patterns. A version of the chrysanthemum pattern was adopted by the emperor in the 14th century for the family's exclusive use as the imperial crest. It has been in continual use over the centuries, still displayed today by the Japanese Imperial family.Additional Sources of Study
NYT Article: A Culture Invested in Indigo, From Plant to KimonoWikipedia Indigo Dye
Wikipedia Katazome
More About Japanese Kaya Mosquito Netting
Mingeikan, Japanese Folk Crafts Museum
Jeff Krauss' Fabulous Kasuri Collection
Kyushu Kasuri
Collection of Meiji Period Photographs
Wikipedia Japan
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