Visiting the Kyoto Costume Institute, Kyoto, Japan

Anyone who is seriously interested in Fashion History probably owns the book called Fashion. (ISBN3-8228-1206-4)  Within the book are photographs and details about costumes from the 18^th to 20^th centuries, as found in the Kyoto Costume Institute. Here is an image of the different covers you may find. Note: Sometimes the book is in two parts.

Various versions of the book Fashion by Taschen

While in Kyoto, I was fortunate to be able to visit the Kyoto Costume Institute and spend an hour looking at several pieces in the archives of the collection. The Institute’s corporate sponsor is WACOAL CORP., a clothing manufacturer who specialized in underclothing.

The Kyoto Costume Institute is not really a museum, although they do host exhibits at their location at times. More so, they are an Institute, whose role it is, to collect and document fashion costume from all parts of the world and through time. They work with various museums around the world (e.g. the Metropolitan, Seattle Art Museum), loaning, and coordinating exhibits. If you saw the Future Beauty: 30 Years of Japanese Fashion at the Seattle Art Museum (or other venue), then you were looking at many items from the Kyoto Institute.

Prior to my visit, I had communicated with one of a curator, Rie Nii, and discussed my interest to see unique fabrics in costume, used through history. As a result, the staff had selected about 10 garments for me to see.  Photographs were not allowed, and so, I will direct you to the visuals of some of the garments through online links. There are about 200 items in the online archive, and they are organized by silhouette. Enjoy the entire collection.

Online Digital Archives

http://www.kci.or.jp/archives/index_e.html

Make sure you use the magnifying feature to see closeups of each garment!

The book, Fashion, is available in a few formats (single or double volume), and the covers vary. 

As I walk you through the various garments I saw, I will refer to the page number in the single volume Taschen book.

Page 17

Probably the most exciting item I was able to see was a bodice owned by Queen Elizabeth I (1533-1603). This is the oldest piece in the collection, and sadly, it isn’t in the online digital archive, so hopefully you have the book.  The bodice was probably given to the Queen by the mother of Robert Devereux, in hopes of gaining a pardon for her son. The bodice did not serve its purpose, however and Devereux was beheaded. This piece is made of a plain-weave linen and then heavily embroidered with metal and silk threads using plant and floral motifs.

Page 69

http://www.kci.or.jp/archives/digital_archives/detail_22_e.html

Let’s look now at a dress know as a “robe à la française". This one dates to the late 18^th century.

This dress is made of a silk brocade, woven in Lyon, France (the silk capital of France). It has a matching petticoat and stomacher, and is heavily embellished with passementerie (elaborate decorative trimmings).

Page 226

http://www.kci.or.jp/archives/digital_archives/detail_88_e.html

This garment called a visite was popular in the late 1800’s. It is essentially a cashmere shawl (whose popularity started with Napoleon’s Josephine) that has been sewn into a coat (as was the practice in the late 18^th century). Zoom into this one, so that you can see the amazing imagery woven into the cloth. The fabric was woven in Lyon, France.

Pages 260-261

Next, we have a Charles Frederick Worth Dinner Dress, c. 1883.

http://www.kci.or.jp/archives/digital_archives/detail_92_e.html

Worth is considered to be the first couturier. This gown, is made of a deep red silk velvet. The pile of the velvet appears in stripe and leaves (make sure you zoom into the image to see this detail). A bustle would be worn under this gown, in order to give the silhouette you see.

Pages 342-343

http://www.kci.or.jp/archives/digital_archives/detail_110_e.html

If you like crochet, you will love this Italian dress made from Irish cotton. Crocheted motifs of flowers and dragonflies are everywhere throughout the gown. I can’t imagine how long it took to make this.

Pages 442-443

http://www.kci.or.jp/archives/digital_archives/detail_142_e.html

Now, let’s look at a cape by French fashion designer Paul Poiret, 1925. The textile design was by an artist Raoul Dufy. Poiret often collaborated with artists to bring art and fashion together. The cut of the cape itself is simple, basically a rectangle, but the design of the cloth (an orange lamé jacquard) with the print on top is what becomes the focal interest.

Page 482

http://www.kci.or.jp/archives/digital_archives/detail_153_e.html

Elsa Schiaparreli was an Italian designer, who incorporated elements of current art movements into her designs. This evening cape from 1938 is made of black velvet and is heavily embellished with gold thread embroider, sequins and beads. The image is of the Greek God Apollo.

I am very grateful to the curators who took the time out of their busy day to allow me to view first-hand garments I’ve discussed in my Fashion History lectures. Looking at them was such a fantastic experience.

The Kyoto Costume Institute

Kyoto, Japan

http://www.kci.or.jp/index.html?lang=en

Indigo Dyeing with Hirojuki Shindo in Japan

Two trains and two buses. That is what it took for us to get to the magical village of Kita in Miyama, which lies 60 km north of Kyoto, Japan.

 

The goal; to visit the Little Indigo Museum, and meet Hiroyuki Shindo, a master of Indigo dyeing. He is known in the fiber arts community and has shown his art indigo pieces in numerous major museums throughout the world.

Shindo-san and his family live in Kita, a village composed of amazing thatched-roof dwellings, many of which are more than 200 years old. The Little Indigo Museum’s dwelling is the oldest, and functions not only as a museum, but a workspace, and living quarters.

A typical house in the village of Kita

The Shindo family was most gracious. The museum, in the upstairs of the home held many examples of indigo fabrics, demonstrating dyeing and printing techniques from around the world.

A view of part of the Indigo Exhibit

A fringed indigo veil worn by a Berber bride in Tunisa 

18th century Indigo print, France

Shindo-san cutting hemp for our projects

The workshop part of our visit allowed us to experience indigo dyeing first-hand. Shindo-san provided each of us with a meter of vintage hemp, and discussed various techniques we could apply using a clamp-resist process. 

The first step was to fold the fabric vertically, so as to expose as much of it as possible in the dye bath. Then, we sandwiched the fabric between wood pieces and clamped them in place.

Folding the fabric vertically

Folding the fabric vertically

Off to the dye vats!

Indigo Plants

Dried Indigo

Indigo, as a dye substance, is processed from the leaves of the indigo plant.

Here you can see the plants, and leaves once dried, that will be pulverized for use. I was intrigued to learn that a healthy dye bath will be capped with a crowing ‘flower’ formed through a vigorous stirring process, which signifies a healthy ph value.

Stirring to create the 'flower'

The 'flower'

Don and I decided to use two different techniques. I dipped my cloth completely, and Don space-dyed his, meaning he kept part of his cloth from immersing in the fabric.

The amazing thing about indigo dyeing, is that the bath is a yellowish-green. One doesn’t start to see the blue/navy until oxidation takes place. This can happen through exposure to the air, or through the oxygen in water.

 Here you can see my fabric as I have unclamped the wood.

Here are our finished pieces; This was too much fun!

Don's space-dyed piece (left) and my complete immersed piece (right)

This visit was one of the highlights of my Japan trip. I cannot thank the Shindo family enough for their generosity in sharing and in spirit.

To learn more about Hirojuki Shindo and his Little Indigo Museum, click on the link below:

http://shindo-shindigo.com/

Shibori Technique #2

Technique Two: Fold, Clamp, and Dye

The second workshop I took at the Kyoto Shibori Museum involved techniques of folding, clamping, and dyeing. Again, this is a resist-type of dyeing. The folding of the fabric allows for a repeat pattern to emerge in the final piece. Clamping wooden shapes onto the folded cloth prevents the dye from penetrating the areas underneath the wood. One needs to use wood  pieces(as opposed to plastic, etc.

Samples of Fold, Clamp, and Dye

), as the wood will expand a little when wet, which makes it press even tighter to the cloth.

We began the workshop by looking at samples of finished scarves. Ryo-san pointed out that the shape on the label of each sample indicated the wooden shape used, and it was obvious to see the two colors of dye that would become the base.

Two methods of folding were introduced: a back and forth linear fan-fold, and a triangular type of fan-fold. It is important to have as much surface area of the fabric exposed for dyeing, and this is why a fan-fold (or accordion fold) is used.

 

Beginning to fold the scarf

Once the scarf is folded, you then choose the shapes you want to employ and clamp them down tightly onto the cloth. You need two of each shape, and you sandwich the cloth between the pieces of wood.

Clamps and Wood Shapes

Sandwiching the folded silk between two wood shapes

Another view of clamping

Once all is clamped in place, it is off to the dye bath for the first color. We soaked the fabric in cold water first and then moved it to the hot dye bath. Once we had the depth of color we wanted, then we rinsed the fabric (while still clamped), and then back at the work station, carefully removed the clamps. Without unfolding the cloth, we then sandwiched and clamped down a second set of wooden shapes. I could see that the more one does this, the easier it is to understand what shapes will produce what repeat.

Prepping for the second set of dyeing

Back to the dye room, for the second color. In my case, I used blue in the first dyeing session. I then applied orange in the second dyeing, with the result of creating purple when over-dyeing occurred. Here is a list of how colors would occur on the scarf.

• Blue – from the first dyeing in non-clamped areas.
• Orange – from the second dyeing in areas that were clamped the first time, but not the second.
• Purple – in areas where overdyeing of blue over orange occurred.
• White – in areas which were clamped by shapes of wood, both times, and thus received no dye.

After the second dye bath, but before the grand unfolding

My finished piece

Again, there was this marvelous moment, when you unveiled the finished result.  Ryo-san held one end of the folded (but now unclamped) cloth, and I held the other end. We counted to three and unfolded the piece.  Magic!!

I can see that the more one works with this, the more you can foresee what you will get with different Shibori techniques. So, I intend to practice this more when I get back home, and document my steps and therefore my understanding. I’m hooked!!

  

Kyoto Shibori Museum

127 Shikiamicho, Nakagyo-ku, Kyoto 604-8261, Kyoto Prefecture

+81 75-221-4252

http://shiborijp.wix.com/kyoto-shibori-museum