Tag Archive | sewing

Display Items from Clothiers 2020

Feb12

For those who were unable to make it to this year’s Clothiers event, here are the examples I brought to share for the Japanese display. They are a couple of garments that I had made, plus a few panels of vintage (1940s-1960s) kimono panels that showed modern examples of some dyeing techniques that were used in pre-Edo Japan. Of course, the motifs are smaller on these modern pieces but they show the complexity of these simple garments. Note: the panels are from damaged vintage kimono that I had taken apart to reuse the silk for other projects.

pink_uchikake
Pink Brocade Uchikake, photo by Jay Reynolds

Item: Pink Brocade Uchikake Kosode 打掛小袖
Time: Muromachi Era (1336-1573)
Place: Japan
Owner: Ki no Kotori
Made by: Ki no Kotori
Points of Interest: This piece is a kosode (small-sleeved garment) uchikake. The sleeves are smaller and the panels are wider than that of a modern kimono. The average width of a kimono panel is between 12-14 inches, while kosode panels were 17-18 inches wide. During the 17th century, the kosode evolved into the kimono, becoming longer and narrower, with larger sleeves and an altered neckline. The obi (belt) that held the garment in place also evolved from a simple narrow belt to an intricately woven band that covered most of the abdomen.
This modern Chinese brocade is similar to the ornate style of brocade favored in the Muromachi Era. The uchikake is meant to be worn open above another kosode (or two—they were often layered, especially in the colder months). Uchikake were always lined. They are still in use today as bridal garments.
This is an earlier piece of mine, made in 2003-2004. There are a few things I would do differently now, especially with padding the bottom of the lining. The materials are modern, but I got them at a clearance sale for a very affordable price and while I did have to change some of the sewing (tighter stitches because Lordy, this stuff frays like crazy!), I think it gives a good approximation of what the garment should look like.

leaf_kosode
Leaf Kosode, photo courtesy of Jay Reynolds

Item: Autumn Leaf Kosode小袖
Time: Azuchi-Momoyama Era (1573-1600)
Place: Japan
Owner: Ki no Kotori
Made by: Ki no Kotori
Points of Interest: This piece is an unlined kosode (small-sleeved garment) that was made by altering a vintage meisen silk kimono. I chose this kimono to alter because of the large pattern, which is similar to what would have been worn before 1600. The silk is probably a silk/poly blend. The original kimono probably dates from the 1950’s. Meisen silk is a kasuri (ikat) weave where the design is stenciled on the warp and then woven in. It was extremely popular from the 1920’s until the 1960’s. The Kasuri technique does date back into the middle ages, although it didn’t become widely used until the Edo period (1603-1868).
The sleeves are slightly larger than a true kosode because I wanted to show off the leaf pattern on them. I added strips of a scrap piece of rayon to widen the garment. The rayon I had was too short and so I had to piece it at the bottom. I also had to put in a wide hem as the original kimono was a bit too long. There are several late-period examples of pieced kosode, although usually using horizontal rather than vertical lines. The original garment was unlined, so I kept it that way. By adapting the vintage kimono and using the scrap rayon (left over from another project), I kept the price of the project down to about $30.

striped_shibori_example
Multi-colored Vintage Kimono Panel (on right of photo), photo courtesy of Edward Hauschild

Item: Multi-colored Vintage Kimono Panel
Time: Estimated Mid-Showa Era (1926-1989—probably 1940’s)
Place: Japan
Owner: Ki no Kotori
Where purchased: YokoDana Trading
Points of Interest: This piece is an example of somewake 染分 (using various colors) dyeing, a technique first used during the Kamakura Era (1185-1333). The earliest extant example of this technique is a drawing of a woman from 1309.

blue_shibori_example
Blue Shibori Example, photo by Edward Hauschild

blue_shibori_example_weave_and_kanoko
Blue Shibori Example, Detail showing Sayagata weave and Kanoko dots

Item: Blue and White Kimono panel showing weave and shibori dyeing
Time: Estimated Mid-Showa Era (1926-1989—probably 1960’s)
Place: Japan
Owner: Ki no Kotori
Where purchased: YokoDana Trading
Points of Interest: The weave pattern is called sayagata 紗綾形 (linked manji design). The manji is a reversed swastika used as a Buddhist motif, therefore the pattern is considered auspicious. The sayagata weave came to Japan quite late in period (about 1573) from China. Along with the sayagata are alternating rows of susuki 薄 (pampas grass) and kiku 菊 (chrysanthemum).
This example shows how a variety of shibori 絞り (tie-dye) techniques can be used on a single piece of cloth. The larger pattern was probably created using ori-nui 折縫い (folded and sewn) shibori, while the smaller dot-like areas were either done by miura 三浦 (loop braiding) shibori or chuu-hitta kanoko shibori 中匹田鹿子 (medium dots within squares/fawn spots). The two look quite similar. Miura shibori is an Edo period (1603-1868) development that imitated kanoko shibori, examples of which can be found as far back as the Nara period (710-794).

pink_shibori_1_example
Pink Tsujigahana Example, photo by Edward Hauschild

pink_shibori_2_example
Detail of Pink Tsujigahana Example, photo courtesy of Edward Hauschild

pink_shibori_2_example_weave_sayagata
Detail showing sayagata weave and closer view of the dye details

Item: Kimono Panel Showing Tsujigahana Techniques
Time: Estimated Mid-Showa Era (1926-1989—probably 1960’s)
Place: Japan
Owner: Ki no Kotori
Where purchased: YokoDana Trading
Points of Interest: Sayagata 紗綾形 (linked manji design) is again featured in this weave, along with alternating rows of ran 蘭 (orchid) and kiku 菊 (chrysanthemum).
This piece is a modern example of tsujigahana 辻ヶ花 (flowers at the crossroads) technique, which originated during the Muromachi Era (1336-1573). The larger areas were tied off with ori-nui 折縫い shibori, then decorated within with tsukidashi kanoko 突き出し鹿子 (spaced dots) and mame 豆絞 (bean) shibori. Some of the edges of the design are embroidered in gold thread, and then a paste is put down and gold and silver leaf are gilded on with a technique called surihaku 摺箔.This piece has a smaller motif than might be used in medieval times but the basic techniques are the same.

Disclaimer: A note about the Sayagata 紗綾形 (linked manji) design. The manji is a reversed swastika and a common Buddhist motif in Japan. As a design, sayagata is considered very auspicious. However, we know that the swastika’s image has been permanently stained by association with Nazi Germany of the 20th century and those who espouse the foul ideals of that regime. Japan itself is discontinuing the use of the manji as a symbol for Buddhist temples on maps because of this. Please know that these historical textile pieces shown here are only on display for educational purposes and to show the intricate dyeing techniques used in Japanese clothing.

YokoDana Trading is a company that sells vintage kimono in bulk, usually as “cutters” for craft projects (quilting, for example) at a very reasonable price. Sometimes there will be kimono included that are in wearable shape, but need to be taken apart for cleaning. Another vendor that I would recommend is Ohio Kimono. The owner has been involved in the SCA and can recommend garments that have more medieval motifs. I’ve gotten a few kimono from her that I have adapted for SCA wear.

Art-Streak Day One

Mar1

So I decided to start “100 Days of Arts and Sciences” because I have a lot to get done, especially regarding sewing since not much of my old wardrobe fits anymore. 100 days from today will land me on the first Sunday of Lilies War. Seems like I did a lot today but some of it was continued from earlier and I am also counting study/practice because any project I do has a lot of practice/experiments/humiliating failures as part of the process. And research, always research.

Anyway, today I

1. Finished taking those huge wool curtains apart. Washing comes next but I need to figure out how I want to do that. (Dryer? Air dry? Can I even use Wa Paste in a high efficiency washing machine?)

Wool curtain harvest 1

Wool Curtain harvest 2

100_days_as_1_wool

2. Cut out material for a sloper to experiment with my kosode pattern. This pattern is for summer wear, so unlined.

100_days_as_1_kosode_sloper

3. Got in some yojijukugo (4 kanji idiom) calligraphy practice with the medium brush. It’s a good way to work out space and balance, and easier to see your mistakes.

100_days_as_1_shodo

4. Continued my study of kanji radicals. Not technically shodo since I use a pen or pencil, but important for learning stroke order and proportion.

100_days_as_1_radical_study

5. Also practiced my recorder a bit but forgot to take a picture. But I do have an awesome new wooden soprano recorder to play with! But here’s a picture of me at music practice a few weeks ago, with my friend’s cat helping me out!

Me and Tux 1

Definitely will not be able to do this much every day but here’s to a good start!

飾り結び Ornamental Knots

Nov17

kazari_musubi_examples

Examples of kazari musubi (ornamental knots) from the cover of the book 暮らしを彩る飾り結び.

A question came up on the SCA Japanese Facebook page regarding kazari musubi 飾り結び (ornamental knots). These were widely used in Japanese clothing and also for decorating and fastening scrolls. The knots were often made of kumihimo cords, so it ends up being a multi-phase process.

While I haven’t found much in English about kazari musubi, there are two excellent books in print available in Japanese:

やさしい飾り結び (Yasashii kazari musubi) “Simple Ornamental Knots” by Hashida Shoen (1983) ISBN 978-4-14-031025-0 .

暮らしを彩る飾り結び (Kurashi o irodoru kazarimusubi) “Decorating with Ornamental Knots” by Tanaka Toshiko (2012) ISBN # 978-4-14-031187-5.

Another way to approach the subject is by looking at Chinese ornamental knots. They are similar but not exactly alike, as they tend to be more complex than the common Japanese designs. Still, the techniques used are the same, and because macrame was such a popular pasttime here in America during the 1970’s, there was a market for books on this subject and so there are several books available in English.

I have found Lydia Chen’s work to be very accessible. She explains the process thoroughly, with a lot of pictures, and has several books out on the subject. Here is a list of her books on Goodreads. I would recommend starting with Chinese Knotting: Creative Designs that are Easy and Fun! and her The Complete Book of Chinese Knotting: A Compendium of Techniques and Variations . The Fashion accessory book is fun but not practical for what we do in the SCA.

There’s a wonderful site called Knotty Notions by Carol Leon-Yun Wang which has some very useful links. Her webpage on Chinese knotting has some instructions for basic knots, too, as well as an excellent bibliography, although maybe not completely up to date at this point.

Of course, this subject ties into kumihimo/kate-uchi, that creates the cords from which these knots are made. I’m just getting my toes wet on this subject, so will report back more as I dig deeper. Still, this is plenty to get a person started and keep them busy for a long time!

Some Useful Links to Get Started with Medieval Japanese Women’s Clothing

Nov17

sewing_kosode_20181108

Sewing a Kosode in the car, photo credit Maria Szabo Gilson.

Someone contacted me on Facebook with a question about getting started with Medieval Japanese Women’s Clothing, as he has only researched men’s clothing. Fortunately, women’s clothing was actually simpler than men’s, and there are some excellent websites that can get a person started on the process.

First, I tend to send folks to Saionji no Hana (Lisa Joseph)’s page: The Kosode: a Japanese Garment for SCA Period. I was around when she was first building this page and it was her instructions I used for my first attempts at Japanese garb. She does keep the page updated as she finds more information and is usually happy to answer questions. Note: there are some adjustments that people of size (like myself) have to make with Japanese garb, as the standard ratios do not apply, and she does try to address the issue.

Oribe Tsukime’s Education Page has a lot of well-researched information and copies of her class handouts. She especially enjoys working with dyes. She’s managed to make some amazing garments with some workarounds for those of us who can’t afford real brocade (that would probably be most of us, right?) She’s also very responsive to questions if she run into a problem.

Here is also my humble handout which focuses on the kind of stitches one uses in kosode construction, and links to helpful pages and videos on tricky things like attaching the collar or getting the lining worked out if you chose to line your garment. Kosode Construction: Stitches, Tips, and Tricks.

There are more tutorials to be found on the web, and I encourage people to seek them out. Sometimes the way one person explains things will not work for someone else, so looking through a variety of approaches might be helpful.

Planning the Sewing Frenzy

Jun22

utamaro_needlework

So we’ve decided to give Gulf Wars a try next year. My husband (Alfgeirr) and I are not great campers, but I have been to Pennsic twice (in my younger days), we’ve camped at Lilies, and at Armorgeddon, which tells you about how long it has been since we camped. (Since we moved near the KC area, we tend to day-trip Lilies when we go now.)

I measured my husband the other night for some new garb. Alfgeirr still fits some of his old garb, but his body shape has changed a bit, so it doesn’t fit as well as it did. It was funny, I grabbed the tunic worksheet that I had used the last time I had made him garb (3/15/2008–wow, it has been awhile!). He maybe hits one or two events a year due to his crazy work schedule, so I haven’t felt a need to make him anything new for awhile, but obviously he’ll need more for Gulf. He’d gained a lot of weight, then lost some of it, and really, the only big measurement difference was his abdomen (waist, hips). He’s one of those guys who carries his weight that way, whereas when I gain weight, it is distributed all over my body.

So it’s time to finally make the blasted Thorsbjerg trousers I’ve been promising him for the past 3 years. They’ll be a modified version–I’m adapting a pajama pants pattern and adding the crotch gussets which define the Thorsbjerg trousers. No footies, and he’d rather have a drawstring waistband than have to belt them, then belt the tunics above. I’ll do a trial pair from an old sheet and see how it goes, then use that as my pattern for the rest. Got everything out and ready, just doing my usual cutting procrastination!

He’ll also be getting some new tunics, but those are easy. I know I’ve got trim stashed around here–gotta dig through the stash. He has a Mongol-style hat if it gets cold, but he’ll need a 6-panel hat as well as a few hoods. He already has two pair of winningas, a variety of bags, two plain leather belts, and a torse if he feels fancy, so he’s good there. If I’m feeling ambitious, I might try to make a coat. Those look so awesome.

He doesn’t want to wear period shoes, due to some long-time foot issues. He’s had several surgeries on his left foot and his foot-shape is so odd that we have issues finding him modern shoes. Hey, whatever, he’s coming to the event with me. His plain black tennis shoes would blend, kinda. (Not really but I’m not pushing it.)

I’m in a quandary as to what to make for myself. I had bariatric surgery a few months ago. I’ve lost a lot of weight this past 6 months and I’m already where my old garb is way too big on me (and the stuff I outgrew years ago was donated to various groups’ Gold Key). I have 5 names registered (Austrian, Anglo-Saxon, Japanese, Magyar, and 16th century English), but my main focus has been on the Japanese for the last 15 years.

Apparently (according to a good friend), I confuse people because I so rarely wear Japanese garb, but instead usually don 10th-11th century Anglo-Norman stuff. I do that because it is fairly shapeless, easy to make, and I can wear wimples to hide my short hair. I actually took apart and remade two of my old tunics when they got too small for me, and still get compliments on the way I did it (added plain white linen strips down the sides–a very period solution). My friend suggested I go all-out Japanese, and then people might actually recognize me when they see me.

I guess I could. Certainly I’ve done the research (which for me is most of the fun!) and Japanese clothing is not fitted, plus it can be easily resized. I solved the hair issue with my zukin research. But damn, I’ve always wanted to look like I stepped out of a portrait, and I can’t do that with Japanese, my body shape is all wrong! Even in my skinny days, I couldn’t wear a kimono due to my broad shoulders and generous bosom.

But OTOH, for Gulf Wars, lower-class Japanese would be easy to do, with maybe one court outfit? Opinions, anyone?

The only stipulation is that I have to use what fabric I already own–a lot of various colors of linen, some pretty but polyester brocade, and the fabric from a bunch of vintage meisen silk kimono that I’ve been dissecting for the past couple of years for craft projects. I wonder if the meisen silk could be dyed over? It’s not painted–Meisen was stenciled on the loom, which is why it was so affordable. But I don’t know much about dye at all. As for the linen, I have a few stripes, but most of it is mono-colored (in a variety of shades). I could stencil or block-print it? Even lower-class Japanese loved their textures, that would really add a needed touch.

Shoes: I have a couple of pair of jika-tabi. Need to put in some inserts and test them for long-walk comfort. Zori will not do, when I wear them, my feet hurt the next day, and we’re looking at a week of walking around. I have a pair of geta (that I lent to somebody to wear and they ruined them), but again, not keen.

Hat: Zukin of course, plus I have a couple of straw kasa, one of which is wide enough to approximate an ichime-gasa (top shape is wrong, though). The other one would be better for a man, but I’ve seen pictures of women using those kinds of hats without the veils.

And I need to fit this sewing around my calligraphy stuff. Oh, well, Idle Hands are the Devil’s Playground, right?

*Photo: “A Woman and a Cat” print by Kitagawa Utamaro, approx. 1793-94

On Matawa 真綿

Jan8

A question was asked on the SCA Japanese Facebook page: “Padded Uchigi. Is this just, like, quilted? fluffy? Essentially really thick interfacing? I assume they used silk, but I can’t envision what the final product looks like.”

My answer:

真綿 (mawata) is low-quality silk, nowadays mostly used for making handkerchiefs, but was used for padding on winter garments. This page shows what it looks like: http://www.wildfibres.co.uk/html/mulberry_silk.html

“Was it just stuffed in or how did it stay in place?”

John Marshall actually has a chapter about it in his _Make Your Own Japanese Clothes_, where he discusses the traditional method and then a more modern method better suited towards modern washing using easier to find material (since his book IS about modern clothes). Mawata is sticky, so you basically layer it in place. This webpage shows the process for silk handkerchiefs–it is just on a larger scale for garments. http://www.wormspit.com/mawatas.htm

Marshall, John. Make Your Own Japanese Clothes (Tokyo; Kodansha International, 2013 reprint) 978-1568364933. Originally printed in 1988, ISBN 087011865X.

Cornificia Project

Jan8

I signed up to do an outfit for a project that one of my fellow Calontiri, Cecilia, is doing: she is creating photographic portraits recreating the illuminations in Richard Tessard’s version of Boccaccio’s “The Lives of Famous Women”. You can see the pictures on this Pinterest page. My first two choices were already taken, but I settled on the portrait of Cornificia, who was a 1st century BC Roman poet. The dress is plain compared to some of the others, so I think I can manage it, plus with that pose and the cloak, it won’t matter that I’m so fat.

Boccaccio writes of her that “She was equal in glory to her brother Cornificius, who was a much renowned poet at that time. Not satisfied with excelling in such a splendid art, inspired by the sacred Muses, she rejected the distaff and turned her hands, skilled in the use of the quill, to writing Heliconian verses… With her genius and labor she rose above her sex, and with her splendid work she acquired a perpetual fame.” Her work is lost, but St. Jerome mentions her in his chronicles in 4th century AD, so her work was good enough that it was being read 400 years after her death, and by St. Jerome to boot, who was not an easy man to please.

Here is the picture she will be recreating:

Cornificia

Although color substitutions are being allowed, I think I already have linen in both that blue and the light purple. The tight sleeves look like those of a Gothic fitted dress, but those gathers in front resemble a houppelande? But those tend to have big or hanging sleeves and women mostly wear those belted. This dress is NOT belted. It might be some kind of loose gown?

There’s a similar dress on the Blessed Virgin Mary in The Calvary Triptych by Hugo van der Goes (@1468). Sleeves are a bit different, but the shape of the dress looks similar.

hugo_van_der_goes_1469

Here’s another example by van der Goes from the Monforte alterpiece. He puts the Virgin Mary in this same style of dress consistently.

vandergoes_wijzen_monforte_grt

So anyway, have some research to do. I’m going to try to finish this outfit by December, 2017. I will be making the dress, underdress, veil, and shoes (unseen in picture).