In Japan, the crane (Tsuru) is a common symbol representing longevity and good fortune. It is typically represented with the tortoise. There is a phrase saying Tsuru wa sen-nen, Kame wa man-nen; A crane a thousand years, a Tortoise ten thousand years. Initially, Tsuru was used only for high-ranking families. Over the years, it has often been combined with other patterns representing auspiciousness.
中国をはじめ、鶴は日本で長寿の象徴とされています。古来、他の文様との組み合わせによっては、地位の高い人の物でもありました。他の吉祥文と組み合わせて文様化されたものも多いようです。
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Sakura is a popular Japanese pattern, representing cherry blossom petals. A symbol of spring, it is also commonly used throughout the year. Cherry blossoms are a common symbol of Japan, and also of beginnings as they bloom at the start of the school year.
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Rabbits are a particular symbol in Japan. There are two common stories. One is Inaba no Shirousagi; The White Rabbit of Inaba. In one part of the story, the rabbit challenges the sharks to see whose clan is larger; the rabbits or the sharks. The sharks line up over the ocean, and the rabbit counts them as he jumps along. It is actually just a trick to use the sharks as a bridge to cross the ocean to Inaba. Ever since, this has been a popular motif. The other common story is of the rabbit living on the moon. Like the European "man in the moon", in Eastern mythology there is a rabbit in the face of the moon. In Japan, this is a rabbit pounding mochi rice cakes. The word for "making mochi", mochizuki, sounds very similar to "moon mochi", mochitsuki.
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Traditional Japanese designs, or "Wagara", are traditional Japanese patterns. They are history designs, each with a specific meaning, originally created for decorating traditional garments. The patterns that date back to the 8th century Heian period of Japan, are largely inspired by nature and were crafted using techniques from painting and Chinese calligraphy. They were worn with purpose for different seasons and occasions. However, in the last century this language of pattern was being lost as younger generations shed traditional dress for more westernized clothing. This spurred the use of "Wagara" in homewares and fashion accessories in an effort to prolong the dialect of these traditional Japanese patterns, making them just as relevant and usable today.
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Asanoha depicts a geometric design of hemp leaves. Hemp has long been an important plant in Japan, being the primary clothing fiber along with silk, until the 17th century when cotton was introduced to Japan. It represents growth and good health. Since hemp grows quickly, it was customary to use Asanoha for children's clothes, in hopes that the child would also grow fast and strong.
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Shibori is a resist-dye technique similar to tie-dyeing, where fabric is tied off with string to form intricate patterns. When the string is removed, it reveals detailed images. Shibori dyeing requires a lot of time and skill to achieve. The small dot patterns shown above are known as Kanoko Shibori.
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The Chrysanthemum, or Kiku in Japanese, is a symbol that represents longevity and rejuvenation. When first introduced to Japan during the Nara period, the Japanese Royal Family was fascinated with the Chrysanthemum. Eventually, during the passing of the years, the Chrysanthemum become the Imperial Family Emblem. Even now, it is used as the imperial symbol of Japan, even appearing on the Japanese passport.
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Nami, or "wave," was used as a symbol of gods of the seas. This pattern was also seen on banners and armor from the Sengoku Era (the age of provincial wars), in which troops in war resembled a moving wave. The pattern represents strength, with marvelous depictions of churning, flowing waves.
海は海神を祭った神社で神紋として用いられました、流れる水を様式化した文様。戦国自体の旗印や武具には、その戦いざまを波の動きに喩えたような波紋が見られます。涼しさを感じさせることから動きを活かしてモチーフをつなぐ地模様として多く使われます。
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Seigaiha means "blue ocean waves." This pattern has been used in Egypt, Persia, and around the world. In Japan, it is said that the name comes from Seigaiha, the title of an ancient Japanese court dance. In ancient times, it was used for auspicious events. It is considered a symbol of peace, good luck, and good fortune.
日本では雅楽の舞曲「青海波」にちなんでその名がついたと言われ、古来、吉事に多く使われていたため、吉祥文の一つに数えられています。この文様はエジプトやペルシャ(イランの旧称) をはじめ、世界各国で見られます。
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This pattern was imported from an island outside of Japan. It came to be known as Shima, which means "stripe." It is said that this pattern was often worn by upper-class aristocrats. The chain-link shima pattern is known as Yoshiwara Shima, referring to the town where the pattern came from. Yoshiwara Shima symbolizes how the town draws you in and hold you, like chains. It has also been described to be the chains linking a community together.
古来、日本では「縞」の事を「筋」、「渡来」を「島物」と呼ばれていました。現在の「縞」という字は「島」のあて字と言われています。また、上代では島物は上流貴族が用いたものと伝えられます。
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Komon means "fine pattern", and is a name for patterns made up of tiny, tiny details, appearing like a solid color from afar. Komon patterns were originally only used for ceremonial garments. Komon in modern days is mostly used on Kimono fabric, and is filled with both big or small patterns.
現在言われている小紋とは、上下方向関係なく模様の入っている着物を総称していわれる事が多いようです。友禅染めなどと区別するために、江戸時代時の羽織や着尺などに小紋染を継承したものを、江戸小紋と言うようです。
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Kikko means "tortoise shell." Originally, this hexagonal geometric design came from Western Asia. The tortoise represents longevity in Japan, and is said to live for ten thousand years. Thus, the Kikkou pattern is meant to symbolize longevity.
正六角形の幾何学模様は西アジアが発祥。日本では亀は長寿の象徴とされたため、亀甲文は亀の甲羅に似ているために、長寿延命の吉祥文として伝わりました。
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In the Edo period, it was common to have room dividers in a lattice pattern. Thin wood or bamboo was set horizontally and vertically to create this pattern. It is said that Koushi is based off these patterns. Koushi with thicker lines represents power; Koushi with thinner lines stands for elegance.
細かい木や竹などを縦横に組み合わせた格子にちなんだものだと言われています。様々な種類の格子が誕生した江戸時代には、太い格子は威勢の良さを、細かい格子は上品さや枠を表したものと伝わっています。
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In China, there is a legend of a waterfall emanating from a dragon's home, known for its difficulty to travel upstream. There is a saying that if any koi ("carp") succeeds to reach the gate of the dragon's home, the koi will become a dragon. Based on this legend, the combination of koi and flowing water has become an auspicious pattern symbolizing success in life, commonly meaning a successful career.
中国では上流に登るのが難しいと知られる急流の龍門があり、もし登れる鯉がいたら龍になるだろうという言い伝えがあります。この言い伝えから、鯉と滝の組み合わせは、立身出世の意味を持つ瑞祥の文様となりました。
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In ancient times, this pattern was called Unki ("cloud air"), because it looks like the rising clouds that come from mountains, where the gods are supposed to live. Now, it can be called Kumo, meaning "cloud." The name Kaminarimon comes from ancient Chinese, and represents a spiraling visualization of lightning.
古来、神仙住むとされていた山中より湧き出る雲を雲気と呼ばれていました。雷門は古代中国の「雷」の文字が渦巻き状だったことによりその名がついたと言われています。
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Tachiwaku is the pattern resembling rising steam. In the Heian period, the pattern required advanced fabric making techniques. Therefore, it was exclusively used on clothes for the upper class. There are various kinds of combinations with other patterns Tachiwaku.
立涌は雲が立ち涌く文用にしたものと言われ、平安時代以来、織物では高度な技術を要したために、高位の人の衣服などに見られました。様々の文様との組み合わせや、立涌に見立てた文様が残されています。
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The word “kimono”, which means “a thing to wear,” is a traditional Japanese full-length robe that grew out of favor following the industrial revolution.
Kimono are wrapped around the body, always with the left side over the right and secured by a sash called an “obi.” Kimono is traditionally made out of “tanmono,” or a bolt of fabric. Each kimono is designed precisely to consume one roll of tanmono.
At Kiriko, we use every inch of fabric from each vintage fabric bolt we import—once the bolt is gone, no products will be made using the same fabric. Our kimono scarves and pocket squares are a means of repurposing and giving new life to kimonos that otherwise go unworn and are forgotten.
Furisode are the most formal style of kimono worn by unmarried women in Japan. The furisode is made of very fine, brightly colored silk, and is commonly rented or bought by parents for their daughters to wear when celebrating Coming of Age Day the year they turn 20.
Tomesode (留袖, literally fastened sleeve) are the most formal kimono worn by married women. They always have crests, and the patterns, which may incorporate gold and silver, are only below the waist.
There are two kinds of tomesode kuro (黒, black) and iro (色, coloured); kuro tomesode are the most formal, and always have five crests. They may be worn by guests at formal events like weddings. Iro tomesode can have any base color other than black, and may have one, three, or five crests.
A hakama(袴) is the skirt-like pants that some Aikidoka wear. It is a traditional piece of samurai clothing. While hakama used to be a required part of men's wear, nowadays typical Japanese men usually wear hakama only on extremely formal occasions and at tea ceremonies, weddings, and funerals.
Mofuku(喪服) is the mourning dress worn by both male and female. They wear a complete plain back silk with five crests over white undergarments and white tabi. As for women, obi and other accessories are also black. The completely black mourning clothes is for family and those who are close to the deceased.
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Textile printing is the process of applying color to fabric in definite patterns or designs. In properly printed fabrics, the color is bonded with the fibre, so as to resist washing and friction. Textile printing is related to dyeing; but dyeing usually refers to the whole fabric being uniformly covered with one color, whereas in printing one or more colours are applied to it only in certain parts, and in sharply defined patterns. Learn more about printing in Katazome
Fabric or threads are dyed with a range of dye types. Temperature, density of dye, and length of the time that they are soaked all determines the brightness of the color. To tell the difference between nassen (print dye) and shinzen (dip dye) is that shinzen is usually the same color on the front and back of the fabric. Learn more about dip dye methods such as Shibori.
Ai-zome is a natural indigo dyeing technique originated in Japan. The Ai-Zome process spans over three hundred days, from planting to the creation of the dye pigments.
Artisans are deeply involved in every step in the process, from seeding, reaping, desiccating, and fermenting to make these deep indigo pigments. While most dyeing techniques are seasonal, using raw plants to extract pigments, Ai-Zome pigments use a dried indigo and can be used and made all year round. The dye liquor is free of chemical products as the artisans use only lye and coal in the pigment mixture.
Ai-Zome is traditionally only used on natural fabrics. Usually cotton, the fabric is repeatedly dipped and soaked into the indigo liquor over twenty times over the course of many weeks to bring out the rich color.
Ai-Zome has a particularly exceptional dark blue compared to other indigo dyes. This traditional, natural technique unfortunately has been diminishing by the development of new dyeing techniques. Today, less than 1% of indigo dyed garments are using natural, chemical-free indigo dyes similar to that of Ai-Zome.
Why natural dying is better than chemical? Fabric fibers bond with natural indigo cells, allowing the dye to adhere more effectively. While chemical indigo cells will take, the weak bond creates a dye that easily washes away and bleeds onto other materials. The larger, natural indigo bonds hold strong, and are less likely to transfer through day-to-day use.
Literally translating to “rags,” or “scraps of cloth” in Japanese, Boro is a symbol of a “use everything and waste nothing” philosophy.
From the 17th to 19th century, Japan adopted a policy, “sakoku,” which prohibited trade with all foreign countries. Cotton became extremely precious during this time period. Merchants, peasants and artisans saved every last piece, continually mending the fabric and passing down the patched cloth to the next generation. It was from this earnest ingenuity that the tradition of boro was born.
The patterns found in Boro fabric is developed over repeated hand-stitched maintenance and patching. Each piece of Boro is unique, growing in its artfulness and character with each tear-then-repair, continuing for countless years. Boro embodies a dedication to taking time, love, and care for craft and quality. We do our utmost to uphold these values with each product we design and create.
Browse our Boro related products here
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Kasuri is a fabric that has been woven with thread fibers dyed specifically to create patterns and images in the material.
The word Kasuri is derived from the Japanese word, “kasureru,” meaning “blurred” because of the innate tendency for kasuri designs to appear splashed and blurry. The technique is similar to that of ikat patterns, which originated around the world simultaneously with kasuri. Because the individual threads are dyed versus printed on one side of the fabric, the design is woven into the fabric, allowing it to appear on both sides.
We source all our kasuri from Japanese heritage manufacturers. Each kasuri scarf features a scent stick that tucks into its tag and also is accompanied by an antiqued safety pin held in a muslin bag.
Both the Tottori and Shimane prefectures are famous for Kasuri and Yumihama-Gasuri fabric, which is characterized by a beautiful combination of white and indigo dyed threads. Both of these fabrics became increasingly popular during the Edo period.
A unique representation of indigo dyeing in Shimane is Hirose-Gasuri. This traditional textile technique originated in Hirose, Yasugi City, the eastern area of Shimane. It has been coveted for its large and sharp designs, and can only be created with special tools that create precise and complex patterns and designs.
Kurume-gasuri is a fabric first created by Inoue Den, a 13 year old girl born in 1788 in Kurume. Many farmers in the Chikugo area have since woven the fabric as a side business since the end of Edo era. The skillful design techniques paired with their beautiful shades of indigo have always, and continue to be popular among people in Japan and around the world.
Modern day Kurume is facilitated by innovation in machinery, and features a weaving technique that renders both a texture and design that are unique to each side of the fabric.
When designing Kurume Kasuri fabric is is typically woven with a pattern in which the reverse of the design appears on the opposite side of the fabric. Generating this pattern uses much more thread, thus the smooth, patterned texture that is unique only to Kurume textiles.
The textiles are still woven on the original looms of the crafting families who first founded the technique. Kurume Kasuri is a testament to a continuing dedication to craft and tradition alongside the rise of machine manufacturing.
Browse our Kasuri-related products here
]]>The word Shibori comes from the Japanese verb root “shiboru,” meaning “to wring, squeeze, press.”
Shibori a traditional Japanese resist-dyeing technique that has been around longer than any other fabric dyeing method. The pattern is made by binding, stitching, folding, twisting, compressing, dyeing, and then releasing the binding pressure to reveal the pattern. Commonly mistaken for tie-dye in the West, the original Shibori techniques were ancestral, handed down exclusively within Japanese artisan families.
When the cloth is returned to its two-dimensional form after dyeing, the design that emerges is the result of the bound and tied three-dimensional shape. The cloth sensitively records both the form and the pressure; the “memory” of the tied shape remains imprinted in the cloth, often creating a unique texture. Each and every detail of Shibori represents a tied knot made by an artisan’s hands.
There is an infinite number of ways one can bind, stitch, fold, twist, or compress cloth for shibori, and each way results in very different patterns.
Kanoko Shibori, the most popular variation of the Shibori technique, involves tying cloth in small pinches to achieve the desired pattern. Each individual knot is hand-tied, creating small variations in the shapes, and is carefully released by a craftsman one at a time.
Kumo Shibori, or literally spider tie-dye, creates a pattern of spider web-like shapes. This technique involves tying sections of fabric with fibers evenly. The result is a very condensed spider-web design. There is no standard design, so the pattern is in the hands and sense of the artisan.
Miura Shibori is also known as looped binding. Using a hooked needle and plucking sections of the fabric, the released pattern resembles water ripples. The pattern achieved depends on how tightly the fabric is bound and where it is bound, so each pattern is unique itself.
Used for both utility and for ornamentation, Sashiko, a Japanese hand-stitched embroidery technique, was often used to reinforce fabric. Simple sashiko stitching was pivotal for boro patching and mending clothes but evolved into intricate embroidering of garments.
Sashiko’s translation, “little stabs,” is a reflection on its technique, creating these designs one stitch and thread at a time. Sashiko embroidery would be featured on fireman’s uniforms, hikeshi sashiko hasten, as crests, symbols, or patterns but also created a sturdier garment to protect them from bruises and burns.
Sashiko was also applied to the corners of a wrapping cloth called Furoshiki decoratively and to increase durability.
Sashiko patterns typically come from traditional Japanese and Chinese motifs appearing in nature and in folklore.
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Browse our Sashiko related products here.
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