Kimonos

Encounter with “*Furisode (Long-Sleeved Kimono) with Bundled Noshi Streamers”

When I was a student at the Kyoto International Design Institute (now closed) in Kyoto, Japan I went to see an exhibition at the Osaka National Museum. There I saw the “Furisode with Bundled Noshi Streamers” which was made in 18th century and now designated by the Japanese government a National Treasure. I was mesmerized by its bold design as well as the intricate techniques of embroidery and dying.

After I graduated, I apprenticed for two years with an artist in Kyoto who specialized in one-of-a-kind art kimono using wax resist dye techniques.

Eventually I came to the United States in 1977 and taught that technique at summer workshop courses at the Parsons School of Design (now The New School), Art New England Summer Workshops and various summer workshops at universities in 1980’s.

At the summer workshops it was not suitable for making kimonos because of the size and cost of silk, but participants created many interesting pieces of “Wearable Art” using the traditional techniques of wax resist dyeing.

In 1985, four of my kimonos (one for each of the four seasons) were exhibited in t The Way of Tea: American Art for The Japanese Tea Ceremony at the Art Complex Museum in Duxbury, MA

Why Kimono for Four Seasons?

Like New England, Japan has four very distinct seasons, and this is deeply rooted in then aesthetics and daily life of Japanese people. Kimono worn in Spring, Autumn and Winter are silk lined.  But a very special light weight silk is used for summer kimono without lining. As for designs seasonal motifs, images are worn only in the proper season; for example, kimono with designs of cherry blossoms should not be worn in autumn; and designs of autumn leaves should not be worn in spring.

What Is Wax Resist Dyeing Technique?

Batik is one type, and the oldest types of wax resist dying and came to Japan from India in the 10th century. Over many years this technique has evolved in Japan as roketsu zome (wax resist dyeing.)  This involves the use of a heat resistant brush which is dipped into melted hot wax, which is then applied around the patterns and designs in order to prevent the dye from running outside the designs.  Some roketsu zome has a crackling effect, like batik, but the master with whom I apprenticed did not use the crackling effect (which I did not care for.)When design is completed, the entire silk is dipped into white gas (petroleum naphtha) to remove the wax.  It is then washed and steamed to regain the original look and feel of kimono silk.
In Kyoto this process of removing the wax is done by specialists, but in Boston I removed the wax myself and sent the piece to the dry cleaner to finish.
This complication is one reason why there are very few artists working in this medium in the United States.