Making Kimono and Japanese Clothes E-Book

Jenni Dobson

• Herausgeber: Batsford
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 142

Veröffentlichungsjahr: 2018

Beschreibung

A practical and inspirational book for dressmakers, quilters and embroiderers who have long coveted the style of Japanese clothes, in particular the kimono. Expert dressmaker and quilter Jenni Dobson takes you through the techniques for making Japanese clothes with simple step-by-step processes, but goes further, covering details on Japanese design and the various techniques for embellishing Japanese clothes. Colourfully illustrated with images of finished garments as well as practical diagrams and patterns for dressmaking, the author has deliberately made all the garments accessible even for those with limited experience of dressmaking, but there are plenty of ideas to inspire those more accomplished readers.

Leseprobe

making

kimono

& japanese clothes

making

kimono

& japanese clothes

Jenni Dobson

Dedication

This book is dedicated to the memory of my mother, Pat Allen. Some of her fabrics and threads, together with her Bernina, helped to make this book possible, even though she did not live to see it. Thank you, Mum!

Author’s acknowledgements

Influences on a book such as this obviously come from many directions, some unrecognized because they are so subtle. My longstanding friend and mentor, Jill Liddell, author of The Story of the Kimono, has been the source of much of my background knowledge about Japan over the years – and a fountain of encouragement.

I also wish to acknowledge the comprehensive work by John Marshall, Make Your Own Japanese Clothes (Kodansha, 1988), which I purchased in the early 1990s. My book does not presume to copy this work, but rather to offer a simpler level of making and to emphasize the decorative possibilities of Japanese garment forms.

In this aim I was much encouraged and supported by Mary and Shiro Tamakoshi of Euro-Japan Links, London, England, who loaned most of the source garments from which my patterns were derived and who gave generous permission for photography. The lovely light blue haori, source garment in Chapter 8, is a treasured gift from my Japanese friend Atsuko Ohta of Patchwork Quilt Tsushin, Tokyo. I am indebted to friends Sue Barry and Minou Button-de Groote for their garments and Sue in particular for her advice on silk painting. Thanks also to Dianne Huck of the British Patchwork and Quilting magazine for permission to rework an article on shibori, first printed in the magazine, for the benefit of this book.

I must mention Pat Allen, my mother, and Mary Dale, maternal grandmother, for without their skills and knowledge in my childhood days, I would not be the needlewoman that I am. Finally, a big thank you to my husband and family for their support and tolerance of my stitching career!

CONTENTS

Introduction: A brief history of the kimono

Using this book

General sewing information

1: A Japanese approach to design

2: Decorative techniques

3: Kimono

4: Mompe

5: Hippari and jimbei

6: Waistcoats

7: Hanten

8: Haori

9: Additional pieces

The patterns

Japanese historical periods

Bibliography

Suppliers

Index

INTRODUCTION

A brief history of the kimono

When westerners first arrived in Japan and enquired the name of the clothing, they were told ‘kimono’ – which literally means ‘thing to wear’! Kimono was thus a generic word that embraced a whole range of garments, but gradually it has come to refer to the full-length robe, made from straight strips of cloth, that people the world over would recognize. It is a word, like ‘sheep’ and ‘fish’, that has the same form for both singular and plural uses.

Early in Japanese history, people were much influenced by contact with China, wearing Chinese-style robes and adopting the Chinese hierarchy of colours for rulers and court officials. During the Nara period (AD 710–794), however, garments resembling the kimono began to appear and, after Japan suspended contact with China (one of several such episodes), a style began to emerge that became uniquely Japanese.

Kimono were generally worn in layers, each carefully cut to reveal a glimpse of colour, the layers being sequenced and coordinated to suit the season. At a time roughly similar to the mediaeval period in Europe, court ladies would wear twelve or more robes at a time, this conspicuous consumption proving that one could afford to sustain the lifestyle of the court. Sleeves also went through a period of being far more enormous than a sleeve actually needs to be. This compares with court fashions in Europe at late mediaeval times, where the same ostentatious display of wealth in costume similarly represented power and authority. Just as in Europe, too, this was a period in which heraldry was highly developed and socially important. Your family crest, or kamon (see here), was displayed on your clothes, your household effects and the livery worn by your household servants.

Embroidery enriches this print with satin stitch and couched gold thread.

A 20th-century recreation of the multi-layered Heian ensemble worn by court ladies of the period.

Eventually the number of layers in an ensemble settled down to about five. However, in the cold of winter one might wear more, and sometimes the relative coldness of winters was described in terms of the number of kimono that had been needed! Despite this, the average kimono was not usually padded, although the silk robes worn at court were usually lined, especially those intended for winter wear (with lining colours also carefully specified to suit the ensemble).

The most familiar form of the kimono is based upon a version called a kosode, which translates as ‘small sleeves’. Japanese girls and young women used to wear flowing sleeves, sometimes to floor length, in a style called furisode. Such sleeves were considered to be tools of flirtation because they could be waved about to catch the eyes of young men. Consequently, upon marriage, these sleeves had to be cut off short. A beautiful sample of embroidery, featured on here, is actually just such a cut-off sleeve. As women grew older, therefore, their sleeves were worn shorter, and the colours they chose also became more subdued.

If you ever have the chance to study a genuine kimono (in other words, not the sort sold in department stores for tourists), take it. It will be a tremendous opportunity to learn about both textile decoration and the construction of these historic garments. I once received a box of kimono pieces which came indirectly from a Japanese ‘Lady’. Inside the box were a number of pieces that clearly came from the same garment and I realized there was perhaps a chance to reassemble the whole. In the event, a few bits were missing. Where the panels had been unpicked, tiny strands of silk sometimes remained, and the distinctive marks of the running stitches that had originally held all together could still be seen. Matching their subtle variations showed whether the correct two seams were being joined.

This detail shows several ‘tide-pools’ of colour with resist-dyed motifs, flowing freely over woven geometric and floral motifs in the background silk.

This Showa-period kimono displays typical decorative features composed in an asymmetrical yet balanced way. Note the scattered embroidered accents: colourful plum blossoms and maple leaves in metallic thread.

On the reverse of the fabric, itself a beautiful putty-coloured silk jacquard, were hand-drawn pencil marks. These marks sketched out the areas to be dyed with various pools of colour. Still visible were the characters specifying the shades: ‘white’, for example, or ‘rust’ or ‘purple’. This showed that the garment had been a bespoke piece of dyeing. On the right side, the fabric was decorated with painted or dyed sprays of flowers and so forth, some of which had been embellished further with satin stitch or metallic thread embroidery. This kimono was probably produced by a workshop that offered the skills of many individuals, and it was made using very traditional methods, including assembly by hand, at a time well after the introduction of the sewing machine. The garment may date from early in the Showa period (1926–89).

On one sleeve, I noticed a very small kamon, the crest of the lady’s family. It is a pair of crossed arrow feathers, suggesting that maybe this was the emblem of a military family. Studying the remaining panels more closely, I found another in the corresponding position on the other sleeve. A third was placed at the centre back, worked so that when the back seam was stitched the two parts would come together correctly. The kamon have been worked in metallic thread, and the three would have appeared in line with each other across the back of the wearer. Their presence indicates that the garment was intended for formal occasions. There is only one higher degree of formality, represented by kimono bearing five crests. As the wearing of kamon was abolished at the end of World War II, the garment must pre-date this time.

What a thrill to discover finely pencilled lines and characters instructing the craftsmen where to place the colours. Enjoy the delicately shaded foliage forms.

This discreet rendition of a kamon, embroidered in fine metallic thread, measures barely 2.5cm (1in) in diameter.

For a modern Japanese woman, the choice of kimono comes loaded with meaning: for example, how formal the garment is, therefore when it should be worn, and details about the age or marital status of the wearer. It is no wonder that the majority of Japanese took to western dress eventually, as it allows women to be far more discreet about such personal facts.

There are many conventions to the wearing of today’s kimono, which is chiefly a stylized version of the garments and dress codes of the former samurai class. It is a complete outfit, and the wearer will generally require help to put it on, as well as instruction in the correct deportment when wearing it. Considering the long history of this garment, it is sad that, for many modern Japanese women, the only time they will don a complete kimono ensemble is on their wedding day.

Nevertheless, there is a survivor from the kimono camp, namely the yukata. This word describes both the kind of fabric used to make it – typically a crisp indigo-dyed cotton – and the style of unlined kimono made with it. This is worn by both men and women as informal leisurewear and is the equivalent of the tracksuit or T-shirt and shorts that westerners might put on after work to relax in during a summer’s evening. As such, it provides a departure point for the basic kimono that you can make and enjoy for yourself.

If this brief history of the kimono has inspired you to know more about Japanese clothing, suggested titles for further reading can be found in the Bibliography.

Using this book

Targeted at the enthusiastic home stitcher and dressmaker, this book aims to present simple, easy-to-sew garments, derived from traditional Japanese clothing. It is not about the production of historically accurate ensembles from specific periods of Japanese history nor about the present-day, highly stylized version of the kimono which, though beautiful to look at, is scarcely practical for life in the 21st century.

Starting with the kimono, the form of which lends itself so well to all manner of decorative techniques, we progress through interpretations of other traditional Japanese garments that can readily find a place in the flexible wardrobes of both men and women. These are all simple shapes that make up into classic and timeless garments. With that in mind, consider fabric choices carefully – you could find yourself wearing a favourite for a long time! Do not feel that you must seek out fabric that ‘looks Japanese’ – unless that is what you truly want. My opinion, for what it is worth, is that these garments will all work best in classic materials that will not readily date, such as silk and linen. If that sounds limited, also consider ethnic textiles. Often decorated in a bold way, they are well displayed by the large garment panels and they also will not seem tied to a particular period in fashion. If fabrics have been produced by traditional methods, expect variations in dyeing or printing and note that the finished article may be more likely to shed colour when washed. Accept these in the Japanese spirit, as a natural consequence of the way they are made and expressing the touch of the maker.

As an item of leisurewear, the kimono is potentially much more than the dressing gown so often seen in lingerie departments. Returning home to shower after work or a sports session, the kimono is the perfect garment to put on, whether you are male or female. You can feel comfortable, yet presentable enough to welcome unexpected visitors.

The jacket and trouser options may be interpreted in very diverse fabrics, to make either smart evening outfits or casual combinations for your next holiday. There need be no fancy construction processes, no mastering buttonholes or inserting zippers if you’re new to dressmaking. Yet if you’re a craftsperson, the basic panels may be decorative masterpieces.

Your decoration may be inspired by anything you choose, but in case you want to maintain a Japanese theme, there are notes on design and use of colour, and some accessible decorative techniques are described. It seems that many craftspeople turn to Japanese garments as a place to display their particular skill because these simple clothes are not demanding to construct. Indeed, this may be why you yourself purchased this book.

Our ideas relate to observations of genuine Japanese garments and textile techniques. These have been translated for the modern maker, who may not have much time and is perhaps only just discovering the joys of personalizing clothing. Most chapters describe decorative details used in the sample garments. Some include guidance intended to help those readers who are novices to dressmaking to get started. More detailed instructions appear in Chapter 2.

Naturally, techniques are not tied to specific garments and must be considered as basic methods, intended to inspire you to your own inventions. Employ skills you already have or be motivated to learn something new!

Please read the rest of this introduction before using the patterns in the book as it explains their presentation and gives general advice.

The patterns

Each pattern chapter (3–9) covers a different item or group of variations on the basic theme, including a descriptive introduction and an illustration of the original Japanese garment that was used as the source for the relevant pattern. The kimono does not have a paper pattern, being simply cut as rectangles of cloth.

Patterns and sizing

Japanese traditional clothing is not sized in the way that westerners are accustomed to, whether buying ready-made clothes or paper patterns for home dressmaking. The basic dimensions were governed by the width of cloth usually produced, approximately 35cm (14in), and fit was simply achieved by taking more or less seam allowance as required. Traditional clothes were hand-sewn with running stitches and were taken apart for laundering, being tacked (basted) back together into a continuous length for this process! Needless to say, laundering didn’t happen very often and sometimes lengths were not reassembled for the same owner. However, because the fabric had not been cut into elaborate pieces with one size in mind, the lengths could be made into a garment for someone else of rather different dimensions and there was no waste.

It is an interesting idea and, while not likely to be copied in modern wear, it is worth remembering that fit is a relative concept. However, most women’s garments comfortably fit UK sizes 12–14, USA 10–12. The men’s jimbei and waistcoat fit chest 112cm (44in). As most garment panels are more-or-less rectangles, I suggest that you assess your measurements against the dimensions of the panels you will be drafting and make simple straight seam adjustments whenever appropriate. For a garment such as the mompe, it is worth making a trial version from inexpensive fabric.

Materials and cutting notes

There are suggested quantities of fabric for each pattern as given, usually in typical western widths, but sometimes also with lengths based on the narrow Japanese fabric of 35cm (14in).

However, there is an old saying about thrift which refers to the need ‘to cut one’s coat according to one’s cloth’, and this is never more appropriate, nor more easy to attempt, than when applied to garments inspired by the Japanese tradition. Further advice on fabric cutting modifications appears on here.

Assembly instructions

The assembly instructions assume some sewing skill. They hopefully strike a balance between being simple to follow while providing more detail for steps which may be unfamiliar. I have been struck by the general simplicity of construction of the Japanese clothes that I have seen, but do not let the simple approach trick you into thinking that this means poorly made. For the most part, traditional Japanese clothes were very well made, sometimes with exquisite detailing. The overall attitude towards execution seems to have been ‘as simple as possible, as beautiful as possible’.

General sewing information

Pattern cutting

The patterns are scaled down to fit the pages of the book, so you will need to draft them to the full size for yourself. For this, you will require a sharp pencil, a long ruler or yardstick and squared paper. Dressmaker’s paper with 5cm (2in) squares is best. If this is not available, you will also need a set (try) square or square quilter’s rule to draw accurate right angles.