Shu-Te University College of Design Graduate

Transcription

Shu-Te University
College of Design
Graduate School of Appiled Arts & Design
Master
Research and Application of the Shibori technique
into fashion design
Student: Nguyen, Hong Khiem
Adviser: Chiu, Feng – Tzu
June, 2011
Rsearch and Application of the Shibori technique into
fashion design
Adviser: Chiu, Feng –Tzu
A Thesis
Submitted to the
Graduate School of Appiled Arts & Design
College of Design
Shu-Te University
In Partial Fulfillment of the Requirements
For the Degree of
Master of Science in
Applied Arts & Design
June,2011
樹德科技大學應用設計研究所
學生：阮鴻謙
指導教授：邱鳳梓
研究與應用靛藍綁紮染技術於時尚設計
摘要
從歐洲到亞洲及世界的每一個角落，靛藍之悠久歷史已引起許
多藝術家和研究人員極大的興趣。如何從樹中萃取它、使用它？如何
長期的保存它以及應用至他們的生活中?這些問題不斷地吸引了許多
世代的研究者及專家們的探索。許多專家已經找到了解決方案，並將
它應用結合於擁有原始有機的材料上，即靛藍染料與有機面料的組
合。如今，靛藍可說是世界珍貴的遺產之一與人類創造的新技術發
展。在此我所關注的是會盡我所能地努力研究靛藍。在本研究裏面，
我將要深入去討論傳統綁紮染 (Shibori) 及應用靛藍染料之技術。
Shibori，稱為綁紮染或防染，因日本人擅於此傳統古老的技藝而聞名
於世界，僅僅運用綑綁、拼接、折疊與壓擠滾動面料就能創造許多美
麗的圖案。事實上，它已經被發展成整個系列傳統的綁紮染技術，以
及最早的布料塑造設計。Shibori 的黃金時代伴隨著許多國家的歷史發
展，其中日本的摺紙藝術為其典型的發展之一。自然的，隨著時尚的
發展，紡織品也跟著發展起來，而傳統的綁紮染(Shibori)是時裝設計
師的有形資產，正一步一步地被帶上時尚伸展舞台。如今它被廣泛地
應用於現代時尚設計領域，猶如增添一種更時髦的新氣息。
關鍵字: 靛藍; 綁紮染; 摺紙藝術
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Graduate School of Applied Arts and Design, Shu-Te University
Reaserch and Application of the Shibori technique into fashion design
Adviser: Chiu, Feng – Tzu
ABSTRACT
From Europe to Asia and every corner of the world, the massive history of
indigo blue have been arouse a great interest for many artists and researchers. The
questions of how to extract it from the tree, how to use it, how to keep it for long time
and how to apply to their life keep appealing many generations of researchers and
experts. Many experts have the solutions and combine with other materials which have
organic origins: indigo and fabric. Nowadays, indigo has been mentioned as one of the
heritage of the world with the development of new technology and the creativity of
human beings. As far as I am concerned, I put all the best of my efforts to work on the
research on indigo. In frame of this research I would like to discuss about Shibori and
technology of applying indigo. Shibori, tie –dye or resist-dye, is well-known all over the
world by Japanese, which are made by bounding, stitching, folding and rolling fabric,
many beautiful patterns are created. As the matter of fact, it has been expanded into a
whole family of traditional resist, technique involving firstly shaping the cloth. The
golden age of Shibori was attached with the history of many countries, in which Japan is
the typical one with their origami art. Naturally, as the fashion is developed, textile is
also developed, Shibori, a tangible asset to fashion designers, step by step comes to
catwalk, Nowadays it is widely applied to modern fashion as a new breath , which is
more fashionable.
Keywords : Indigo blue ; Shibori ; Origami.
ii
Acknowledgements
Foremost, I would like to especially thank SHU-TE University, Taiwan for
giving me the opportunities to participate in the Master program of Fashion Design in
the past two years.
I owe my sincere gratitude to Professor Fongma, the Head of Fashion Design
Department, Taiwan, who always gives instructions and encouragement to me during
my preparation of this thesis.
I also thank most sincerely the Deans, the Lecturers, and Administrative Officers
in Shu-Te University, Taiwan for their relentless assistance and advice during the course
of my studies in Kaoshiung. And I would like to thank adviser Chen , Jin Lin , who
teached me about Indigo during the time I stayed in Taiwan .
I also would like to thank my classmates in the Fashion Department in Shu-Te
University, Taiwan, from whom I have learnt many valuable skills in my field.
Finally, from the bottom of my heart, I would like to sincerely thank to everyone
for all the encouragement and support; my colleagues, my students for their sincere and
valuable assistance during my participation in this course.
iii
Table of Contents
摘要
----------------------------------------------------------
i
ABSTRACT
----------------------------------------------------------
ii
ACKNOWLEDGMENTS
----------------------------------------------------------
iii
TABLE OF CONTENTS
----------------------------------------------------------
iv
LIST OF FIGURES
----------------------------------------------------------
viii
CHAPTER 1
INTRODUCTION------------------------------------
1
1.1.
Motivation ---------------------------------------------
1
1.2.
Research Objectives and Questions ----------------
2
1.3.
Research Scope and Limitations --------------------
2
LITERATURE REVIEWS --------------------------
4
2.1.
Indigo dyeing -----------------------------------------
5
2.1.1.
Indigo history review -------------------------------
5
2.1.2.
Indigo plants ------------------------------------------
6
2.1.3.
Processing and analysing ----------------------------
15
2.2.
Shibori (Tie –Dye ) -----------------------------------
17
2.2.1.
Shibori in the world ( resist dye) -------------------
19
2.2.2.
Shibori definition -------------------------------------
20
2.2.3.
Shibori history ----------------------------------------
21
2.2.4.
Techniques --------------------------------------------
23
RESEARCH METHODOLOGY -------------------
52
3.1.
Research process -------------------------------------
53
3.1.1.
The researching steps --------------------------------
53
3.1.2.
The timeline for research process-------------------
55
3.2.
Fashion trend -----------------------------------------
56
3.3.
The fashion collection of “ Blue memory” --------
57
3.3.1.
Image board ------------------------------------------
57
3.3.2.
Fabric and key color----------------------------------
61
CHAPTER 2
CHAPTER 3
iv
CHAPTER 4
4.5.3.
DESIGN RESULTS----------------------------------
62
4.1.
Style design 1 -----------------------------------------
63
4.1.1.
Color sketch 1-----------------------------------------
63
4.1.2.
Flat style 1 ---------------------------------------------
64
4.1.3.
Block design style 1 ---------------------------------
65
4.1.4.
Detail of style 1 ---------------------------------------
69
4.1.5.
Styling 1 -----------------------------------------------
70
4.2.
Style design 2 -----------------------------------------
71
4.2.1.
Color sketch 2-----------------------------------------
71
4.2.2.
Flat style 2 ---------------------------------------------
72
4.2.3.
73
4.2.4.
Detail of style 2 ---------------------------------------
76
4.2.5.
Styling 2 -----------------------------------------------
77
4.3.
Style design 3 -----------------------------------------
78
4.3.1.
Color sketch 3-----------------------------------------
78
4.3.2.
Flat style 3 ---------------------------------------------
79
4.3.3.
81
4.3.4.
Detail of style 3 ---------------------------------------
85
4.3.5.
Styling 3 -----------------------------------------------
86
4.4.
Style design 4 -----------------------------------------
87
4.4.1.
Color sketch 4-----------------------------------------
87
4.4.2.
Flat style 4 ---------------------------------------------
88
4.4.3.
Block design style 4 : --------------------------------
89
4.4.4.
Detail of style 4 ---------------------------------------
94
4.4.5.
Styling 4 -----------------------------------------------
95
4.5.
Style design 5 -----------------------------------------
96
4.5.1.
Color sketch 5-----------------------------------------
96
4.5.2.
Flat style 5 ---------------------------------------------
97
Block design style 5 : -----------------------------------------------------
98
4.5.4.
Detail of style 5 ---------------------------------------
v
101
4.5.5.
Styling 5 -----------------------------------------------
102
4.6.
Fashion show and exhibition in Shu-Te University
103
CONCLUSION ---------------------------------------
105
5.1.
General conclusion -----------------------------------
105
5.2.
Difficulties---------------------------------------------
106
5.3.
Solving the difficulties ------------------------------
107
5.2.
Further development ---------------------------------
108
----------------------------------------------------------
109
CHAPTER 5
REFERENCE
vi
List of Figures
Figure 2-1 Indigofera ......................................................................................................... 10
Figure 2-3 Isatis Tinctoria ...................................................................................................8
Figure 2-3 Polygomun Tinctoria........................................................................................ 10
Figure 2-4 Strobilanthes Flaccidifolius (Indigo) ................................................................ 11
Figure 2-5 Lonchocarpus Cyanescens ( Indigo)................................................................. 12
Figure 2-6 Marsdenia Tinctoria ......................................................................................... 13
Figure 2-7 Wrightia Tinctoria............................................................................................ 14
Figure 2-8 Indigo formulation ........................................................................................... 16
Figure 2-9 Shibori ............................................................................................................. 17
Figure 2-10 Kanoko shibori ................................................................................................ 20
Figure 2-11 Dot (Kanoko shibori ) ...................................................................................... 25
Figure 2-12 Chu hitta kanoko.............................................................................................. 25
Figure 2-13 Yokobiki kanoko ............................................................................................. 26
Figure 2-14 Tatebiki shibori................................................................................................ 26
Figure 2-15 Te-hitome kanoko ............................................................................................ 27
Figure 2-16 Space Dots shibori .......................................................................................... 27
Figure 2-17 Rasen shibori ................................................................................................... 28
Figure 2-18 Kumo shibori ................................................................................................... 28
Figure 2-19 Miura shibori ................................................................................................... 29
Figure 2-20 Hitta miura shibori ........................................................................................... 29
Figure 2-21 Mokume shibori............................................................................................... 29
Figure 2-22 Tatewaku shibori ............................................................................................. 29
Figure 2-23 Karamatsu shibori............................................................................................ 29
Figure 2-24 Shippo –Tsunagi Pattern .................................................................................. 29
Figure 2-25 Makinui shibori................................................................................................ 33
Figure 2-26 Hanawa shibori ................................................................................................ 34
Figure 2-27 Midori shibori ................................................................................................. 36
Figures 2-28 Yanagi shibori ................................................................................................ 37
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Figures 2-29 Katano shibori ................................................................................................ 37
Figure 2-30 Sankaku pattern ............................................................................................... 39
Figure 2-31 Kikko Pattern................................................................................................... 40
Figure 2-32 Naname goshi pattern...................................................................................... 40
Figure 2-33 Dragon tail shibori .......................................................................................... 40
Figure 2-34 Hosoito ichido kairyo....................................................................................... 44
Figure 2-35 Hosoito yoko kairyo......................................................................................... 44
Figure 2-36 Tate omokume ................................................................................................. 45
Figure 2-37 Yoko omokume ............................................................................................... 45
Figure 2-38 Ochiri .............................................................................................................. 46
Figure 2-39 Hasu ami......................................................................................................... 46
Figure 2-40 Yoko chiri....................................................................................................... 47
Figure 2-41 Yoko ami ......................................................................................................... 47
Figure 2-42 Tate yoko chiri................................................................................................. 48
Figure 2-43 Nuno maki goten sakura.................................................................................. 49
Figure 2-44 Sazanami ......................................................................................................... 49
Figure 2-45 Hagoromo....................................................................................................... 50
Figure 2-46 Kairyo tora...................................................................................................... 50
Figure 2-47 Ami tora........................................................................................................... 51
Figure 3-1 Sample testing ................................................................................................... 54
Figure 3-2 the main technique ............................................................................................. 55
Figure 3-3 (Oscar de Larenta) ............................................................................................. 57
Figure 3-4 (Oscar de Larenta) ............................................................................................. 57
Figure 3-5 ( Thakoon ) ........................................................................................................ 58
Figure 3-6 ( Thakoon) ......................................................................................................... 58
Figure 3-7 (Jonh Galliano) .................................................................................................. 59
Figure 3-8 ( John Galliano ) ................................................................................................ 59
Figure 3-9 (John Galliano) .................................................................................................. 60
Figure 3-10 Fabric and key colors ....................................................................................... 61
Figure 4-1 Fashion show in Shute University ..................................................................... 61
viii
Figure 4-2 Exhibition in Shute University ......................................................................... 61
Figure 5-1 Draft Sketch.................................................................................................... 106
Figure 5-2 Keeping the shining shadow of the.................................................................. 107
Figure 5-3 Dyeing process diagram ................................................................................. 107
ix
Chapter 1
Introduction
In this chapter including : (1) The motivation of the research; (2) Research
objectives and research questions; (3) Research scope and limitations.
1.1 The motivation of the research :
Nowadays , clothing fashion or fashion design is more popular . It's becoming a
special part in our life . Displaying to everyone the ideas of designers or showing the
culture values , what is the designer want to convey to public . On over the world , we
have so many cultures and each of them keep their own's secret which is attentive not
only by researchers but also by fashion designers . Oriental is the one like that . When
the communication is developed , the distance between Western and Orient is more
closer than before , and the Western fashion designers started to discover it . Oriental
cultures are full of the passions and ideas to help the designers create their works . So
many culture values are took out and Shibori (tie - dye ) is the one .
The history of Shibori is connected to the developement of Japan society , hence
it became a heritage . Shibori patterns, are familiar format images . We can see them
through the decorative motifs of kimono such as : a flower , a cloud , a bamboo ...
which are familiar to the common life of Japanese or some special symbols only used
for the royal. Many colors are used like indigo , red , yellow , green on dark and bright
tone, or some of them are mixed together .
Otherwise , The fashion trend of over the world is still following to create the
cubic style on the costume . Designers create the volume to make their works are more
impressed. How could they do it , they had taken out the detail of Origami and applied it
to costume . Such as John Galliano , his fashion ideas always have inspired from
Oriental , kimono , origami , Tibet , or from Russia .
In this study, I want to design a collection based on the research of shibori (tie dye) with indigo blue , which has basic colors of Japan shibori .
1
The costume structure of collection is based on the kimono inspiration , to fold
fabric like origami in order to create “A Piece of Cloth” , and some of costume are made
by draping way . Basically shibori has four ways , during the working time , there are
many other kinds discovered by craftsmen . Via the research process , I chose Nui
Shibori to apply to my collection .
From the passion to inspiration ; ideas to products is a long time to make it true ,
but I hope it can be real . Let people see my collection which has the golden age of
indigo blue . That is why I marked the theme of my collection is " Blue memory " .
1.2 Research objectives and questions:
The objectives of the designs in my collection are to highlight the culture values
of Japan via Shibori technique and art paper fold Origami . With the folds , blue indigo
dye and the structure are not so complicated , I want to figure out a hight quality
collection like a haute couture , and it is not only shown for catwalk but also worn in
common life.
Otherwise , the slogan :" Protect your life " is widespread everywhere , every
fields . Like McQueen ,who mentioned about the issues of rubbish and environment in
his designs , it seems to call everyone thinking again what they treated to environment .
That is the reason I use the organic original fabric , even the dye is also organic
original. They can be recycled when they are useless and harmless with environment .
From the above outlines, my thesis has four research objectives as follows :
1 To research the history and practice how to make shibori motifs with indigo
dye .
2 To select appropriate patterns (motifs) .
3 To select colors, styles and designs to make my collection unique .
4 Finally , to select the best of the above to apply to my collection
2
1.3 Research scope and limitations :
For each designer , their successfull works are conveyed by the inspiration of
research objects .
Basically , shibori has four ways to create the motifs . However , the craftsman
mixed them together and some magic motifs were born . In my collection , via the
research process I decided two objects will be applied to my collection .
One is Indigo NUI shibori .The cloth is pinched with the fingers along design
lines marked on the cloth . A single row of running stitches is made close to the edge of
fold , which is pinched as the stitching is completed , the threads are drawn up tight and
knotted and cloth is dyed. That is the way how to make the Nui shibori effect.
The other one is Origami structure . The fabric folded by drapping way is usefull
to figure out the shape of jackets or volume of dress .
3
Chapter 2
Literature Reviews
In this chapter display :
(1) Indigo dyeing
(2) Shibori technique
4
2.1 Indigo Dyeing
2.1.1 Indigo history review :
Tracing the history of almost any staple commodity as it had threaded its way
through history is bound to be a revelation . Whether the commodity is as basic as sugar ,
as dubious as opium or as mundane as the humble potato , when investigated closely it
will be found to have had widespread ramifications and to have touched on many aspects
of life in diver culture. Indigo is one such commodity , cropping up in many fields of
science and the arts :agriculture , economics ,botany and chemistry ,the applied arts and
even medicine and cosmetics . But in addition to the intriguing history of the subject , the
aesthetic and technical aspects are often quite extra ordinary . Its unique production
methods with their spiritual associations , and the beauty of colors produced on the wide
range of textile , have lent an aura of mystique which still lingers on today . And the
universal adoption of indigo-blue jeans has united cultures worldwide .
It’s only during the twentieth century that synthetic dyestuffs , invented in the
second half of the previous century , became widely available . Before that ,for well over
four millennia , all dyestuffs were made from natural ingredients found mostly in plant
kingdom , with the exception of the important red insect dyes (kermes , cochineal , lac),
some metallic oxides and the renowned shellfish purple . it is a strange fact that green ,
the color of plants , is the one dye not obtained from them . Innumerable plants yield
yellow and brown dyes.
These , along with the reds and blacks . belong to the various groupings
classifiable by their chemical structure . Indigo and its close relation shellfish purple are
chemically in a class apart .
They from extra-ordinary ‘indigoid’ group , whose
production methods are so intriguing that they tantalize today’s organic chemists . The
world indigo refers to the blue coloring matter extracted from the leaves of various plants
including woad Thank to its unusual chemical make-up , indigo can be treated by both as
a dyestuff , in which case cloth or yarn is immersed in the dye vat , or as a blue pigment
(sometime referred to as ‘indigotin’) for paint and ink .
Whatever its associations, blue indigo is cool and relaxing , counter – balancing
the warm end of spectrum . It contrasts with certain other colors to impressive effects , in
5
textile the red/blue and blue/white combination particular have always been popular .
What could be harmonious than the blend of madder reds with indigo blues on many
centre Asian tribal rugs or the morinda reds and indigo blues of an Indonesia Ikat ? The
fashion for blue and white , expressed famously in porcelain , could also be indulged ,
thank to indigo , in textile . There could be few more striking sight than a tall Nigerian
woman enveloped in a boldly patterned blue and white adire cloth or Japanese woman in
an ikat kimono .Not only is it color satisfying , but the singular chemistry of indigo’s
dyeing processes , whether using natural or synthetic indigo allies exceptionally well with
many popular textile – patterning techniques , notably those based on the resist, or reserve
, process . And even when it ages indigo retains, again thanks to its special chemistry , its
inimitable blue . The Japanese culture appreciation of the aesthetics of age places grate
value one the special qualities of faded indigo –as does anyone who wears blue jeans. And
it is the Japanese , whose culture manages to combine modern high technology with
traditional material culture , who elevate indigo growers and dyes to the status of national
living treasure .
As the world’s interest in natural dyestuffs increases and historical examples are
more rigorously scruntinized , more information emerges to revise and extend our
knowledge . The story of indigo , in it various guises ,will surely never end .
2.1.2 Indigo Plants :
(1) Indigofera :
The genus Indigofera , the third largest in the family Legominusea , consist of
almost 800 species. These species can grow on land between sea level and 1605 metres .
Over 600 can be found in Africa , near by 200 in Asia , about 80 in America and 50-60 in
Australia . No one can yet explain why only a handful of these should have a high content
of indican, indigo’s precursor . The existence within the overall genus of a section also
call Indigofera , which contain the dye plants , may have contributed confusions over
nomenclature .
The most widely exploited of all indigo is the species Indigofera tinctoria
L.(=I.sumantrana Gaernt.), a perennial shrub which has been cultivate in most tropical
and subtropical regions . It is thought to have spread of dyeing technology from India first
6
to South East Asia , then through the Middle East to parts of Africa , including
Madagasca and later to America. Under favourable conditions I.tinctoria can grow nearly
two metres tall . It is distinguishable from the other indigo species by its comparatively
large paired leaves , not unlike rue leaves , and its long , relative thin , straight or arcshape pods .The other main indigoferas used for dyeing were the African I.arrecta Hochst
.exA .Rich and the similar looking I. ariculata Guoan and I. coerulea Roxb . These often
have leave looking with more numerous and smaller leaflets than I.tinctoria and
differently shapes pods (straight and relative thick in I.arrecta and strongly beaded in the
others) .I.arrecta , widespread in Africa , was introduced to Java in the middle of
nineteenth century where it was called ‘Natal indigo’ . It was later cultivate in India ,
where it was known as ‘Java’ indigo . It was also grown elsewhere in Indonesia , Viet
nam , Laos , Philippine , and Near East . It has larger leaves than I.tinctoria and was
considered
the
best
indigofera dye variety.
I.articulata and I.coerulea
, both often referred to
erroneously as I.argentea
L. , were widely cultivate
in north western India ,
the Arab world and West
Africa , being more suited
to drier climates than I.
tinctiria . In the golden
days of Islamic textile
production
indigoferas
were also cultivated in the
Mediterranean islands of
Malta Sicily and Cyprus ,
as well as Spain
Figure 2-1 Indigofera
Source http://www.anbg.gov.au/gnp/gnp1/indigofera-australis.html
7
(2) Isatis Tinctoria
Isatis tinctoria or woad (often know by its French name , pastel ) , is one of over
fifty species belonging to the genus Isatis . Its is a biennial member of the family
Cruciferae , related to the common cabbage . Native to the Mediterranean and Western
Asia , it is not known when it spread to north Europe , although it had reached Britain by
the Iron Age and it is found as far north as Scandinavian.
Woad was also grown in Azores and taken to North America by the early settlers .
In northern Europe it tends now to be found only in places where it has escaped from
former cultivation . The first plants , which alone contain dyestuff , resemble rosettes of
spinach leaves . In nearly summer of the second year , when the flowering spikes shoot up
to well over a metre , the distinctive arrow –shaped leaves embrace the stem , and there is
mass of tiny yellow flowers in the branching –head . In medieval Europe fields of
flowering woad (grow for its seed ) would have been as distinctive a landscape feature as
are crops of its relations , mustard and rape , today. The large pendulous dark seed pods ,
aptly described by Gerard in his herbal as ‘ like little blackish tongues , are also striking .
Although the main species to have been exploited commercially is Isatis tinctoria ,
many other strains and species have been found to contain some dyestuff . One of these
was reported to grown in Spain and Portugal , while in Turkey botanists have identified
over thirty – six species and subspecies
, some of which are being used today to
provided dye for modern naturally dyed
rugs . Recent research had revealed that
some Turkish dye-bearing species of
woad contain mostly indirubin , the
indigo red component normally present
only in small proportions in indigo dye
plants and even that colors other than
blues can be produced from them by
different dyeing processes .
Figure 2-2 Isatis Tinctoria
Source : http://commons.wikimedia.org/wiki/File:Isatis_tinctoria.JPG
8
In China a further woad species , Isatis indigotica Fortune ex Linl .(known locally
as sung lan or tien ching , and in English as ‘tea indigo’ or ’cabbage blue ’) , was
identified by the botanist Robert Fortune in the 1840s . This species , which appears to
have higher dye contain than other woads , had probably been introduced in the sixteenth
century for use in areas too cold for tropical and subtropical indigo plants . Fortune found
it being cultivated in abundance around Nanking to supply dyers of Shanghai and other
northern towns , while a seventeenth century Chinese source mentions its cultivation on
the hillsides of Fujian province to the south . Watt later mentions in his economic
dictionary that woad or devil’s weed’ was also to be found both growing wild and
cultivated in Tibet and Afghanistan .
Although enormously important for medieval European woolen industry , woad
was inevitably elbowed out by imported indigo dyestuff when this became freely
available . just as America cochineal would usurp the Mediterranean kermes insect red
dye . Although the same blue dye substance is produced from all the indigo plants , far
more indigo was extracted from the tropical and subtropical species than from woad .
Moreover , the dry , concentrated indigo produced from the former for the export trade
was dissolved in vats of high alkalinity ; making it ; making it compatible with cellulose
fibers like cotton and flax , whereas woad dyestuff only worked well with woolen fibers .
(3) Polygonum Tinctorium ( P . tinctorium )
Polygonum tinctorium , an annual or biennial herbaceous plant know as ‘dyer ‘s
knotweed ’ ,’Chinese indigo ’ , or ‘Japanese indigo ’, belongs to the large family
Polygonaceae . Although several species of P. have been noted as bearing indigo , they
may in fact all belong to the P.tinctorium group . Plants reach about half a metre high ,
and have large dark bluish green leaves alternating up the fleshy systems , whose colors
from green to almost red . Its small flowers range in shade , too, from white to dark
pink . Some people believe that the pink-flowered varieties produce more dye than the
white . When manufactured by traditional methods similar to those formerly used with
woad , it produces far more indigo dye than the same quantity of woad leaves .
9
P. tinctorium was described by the late China scholar Joseph Needham as’ the
ancient and indigenous blue dye-plant of China , the father and mother of all those
million of good blue garments that those who have lived in China know so well ‘ . It is
still grown there , being known as liao-lan while indigofera tinctoria is mu-lan . Indeed
the Chinese character for the blue is the same as that for indigo plants . As P. tinctorium
is subtropical , it could be cultivated in China both alongside indigofera and in places
too cold for the latter . It is thought to have been introduced into Japan , where it
became know as Ai , from southern China sometime after the fifth century AD. It
become the main dye plant of Japan and was widely cultivate there . Throughout the
countryside plants were grown at home for village dyers , while places like Tokushima
district made indigo on a commercial scale . It has also been widely cultivate in Korea
and Vietnam . Europe became interested in ‘Chinese indigo ’ at the eighteenth century
as it can thrive successfully there out of doors if frost damage can be avoided . On the
continent various countries , notably France , made concerted efforts to grow their own
plants , while in England
dyers tried out the dye
itself , imported as
Persicaria
’
.
‘
These
various trials were on the
successful
but
short-
lived. New trials have
recently been undertaken
in England.
Figure 2.3 Polygomun Tinctoria
Source : http://www.7wells.co.uk/persicaria-tinctoria-polygonum-tinctorium-103-p.as
10
(4) Strobilanthes Flaccidifolius:
A perennial sub-shrub of the family Acanthacea , Strobilanthes flaccidifolius ,
known as ‘Assam Indigo ’ (or locally as rum) has been a source of indigo in
mountainous region of Asia , notably in central and south-west China , Thailand ,
Burma , north- east India , Bhutan , Laos , VietNam , Bangladesh and Malaysia . It is
often the only natural dye still used by people of various ethnic minorities living in the
remote region of these countries . It was also cultivated in Taiwan and the southern
Japanese Ryukyu islands , notably Okinawa , where it is still found . In the nineteenth
century Watt urged indigo planters in India to grow S. flaccidifolius to supplement
indigofera , arguing that it could be cropped in the season when the indigo factories lay
idle .
S. flaccidifolius plants reach a metre high . They have mauve , trumpet shape
flowers when left to bloom , but when used for dyeing , they are propagated annually
from cutting and
harvested before
flowering , or the
young leaves are
collected
from
the wild plants .
The dye content
is high and the
plant appears to
produce
particularly dark
shades ,
Figure 2.4 Strobilanthes Flaccidifolius (Indigo)
Source : http://www.thefullwiki.org/Strobilanthe
11
(5) Lonchocarpus Cyanescens :
A widespread source of indigo in much of West Africa is the native legume
Lonchocarpus cyanescens , some times known as ‘Yoruba indigo ’ (or elu in Yoruba ) .
It was also introduced into Malaysia . It’s a fast- growing woody liana , reaching well
over three metres high with large leaves and panicles of pea – like purplish flowers .
When cut down it soon re-grows , and , like indigofera , young plants produce the best
dye . It dye , as well as that from indigofera (probably introduced with Islam) is
generally known locally as gara . In the early nineteenth century the French explorer
Rene Caillie noted dyer using both plants in the northern Ivory Coast and in Sierra
Leone .
Figure 2-5 Lonchocarpus Cyanescens ( Indigo)
Source :http://www.medicinalplantsinnigeria.com/gallery_l/slides/Lonchocarpus%20cy
anescens%28Elu%29isan.html
12
(6) Marsdenia Tinctoria:
Another rampant vine . Marsdenia tintoria (family Asclepiadaceae) , was widely
used in parts of Southeast Asia , where it is commonest in tarumakar , as an alternative
source of indigo . Its was named after William Marsden , who collected specimens in
Sumatra , hoping their might be of commercial value in Britain’s colonies .
He presented them on his return in 1780 to the botanist Joseph Banks . The
plant with it long dark oval leaves and round clusters of small yellow flowers is found in
regions stretching from the north-east Himalayas and Burma to the islands of Indonesia
, and was also cultivated in the Indian Deccan . It could be harvested throughout the
year and grows is regions too wet for indigoferas . It was used either fresh in the dye vat
, or treated like indigoferas to produce dye stuff for trading .
Figure 2-6 Marsdenia Tinctoria
Source : http://www.flickr.com/photos/judymonkey/page784/
13
(7) Wrightia Tinctoria :
Once other significant indigo dye plant is Wrightia tinctoria (family
Apocynaceae ) , known by its Latin name nerium ,’dyer’s oleander ‘ or ‘Manila indigo ’
. A small , fine-branched tree , it has narrow oval leaves with large heads of scented
white flowers and pendulous seed pods . It grows naturally in central and southern
India, Burma and Malaya . Used by the people the Deccan , it was commercialized in
the Madras region , where it was known as ‘Pala indigo’ . In the 1790s the British
explored its commercial potential , Roxburgh’s account of its use in India being
published in 1811 . the process of dye extraction was the same as for indigoferas ,
except that hot water was required (as it for modern woad extraction ) .
Figure 2-7 Wrightia Tinctoria
Source :http://www.dmapr.org.in:8080/nwhgi/nwhgi/showSpecies.action?spcod
e=163
14
(8) Lesser or False Indigo Plants :
In addition to the above , other plants have been said to produce indigo .
According to Watt , Tephrosia tinctoria Pers . and T. purpurea Roxb .(Leguminosae) of
Central India , were used for indigo dyeing , as was another species found in Egypt.
Furthermore , there is a strange group of plants that have been reputed to produce either
genuine indigo or ‘false’ (or ‘pseudo’) indigo . Among these is Mercurialis leiocarpa
Seib . and Zucc .(Euphorbiaceae) , which is closely related to dog’s mercury and is
found in India , China and Japan , where it is known as yama ai . Other plants in this
group include Desmodium brachypodum A. Gray , which was used for unusual barkcloth dyeing on the Solomon islands , Scabiosa succia L. ; and Baptisia tinctoria Roxb. ,
which was known as ‘yellow wild indigo ’ , ‘false / bastard indigo ’ or ‘rattle-weed ’
and was apparently used both for yellow and blue dyeing in America . Tantalizing
footnotes hint and the dyeing qualities of members of this group , but more research is
needed . Many of them are discussed by Cardon and listed in the exhibition catalogue
Sublime indigo .
2.1.3 Processing and analyzing :
(1) How to extract indigo dye from indigo plants .
In the past , what did all this mean in real life ? Processing indigo could be
done in three ways : first the simple method , where fresh leaves put directly in the dye
pot ; second , that where the leaf mass was processed and fermented but the dye pigment
not extracted , and third , the most sophisticated method , where the indigo was fully
extracted from the leaf mass .
In the first method , used in many traditional societies , the basic chemical
transformations are rolled in the dye pot . Fresh leaves and water are put into the pot
with ingredients such as ash water or urine ; this will render the liquid alkaline and set
off fermentation , which gradually reduces the oxygen . This system severs for small –
scale deying but has many limitations .It can only take place near the site
of the dye of dye plants at certain times of year , and the dye is weak , requiring
endless dippings to produce a dark shade .
15
The second method is to start off the fermentation process by composting the
leaves , which are then dried to produce a transportable and storable leaf mass that is
comparatively quick and easy to use in the subsequent dye vat . This system was used
in various ways for processing woad in Europe , and is still used in Japan with
Polygonum tinctorium and in West Africa with both Lonchocarpus cyanescens and
indigoferas . In case of woad and Japanese indigo the leaf mass was subjected to a
protracted fermentation process .
(2) Indigo’s chemical formulation
Indigo
2,2'-Bis(2,3-dihydro-3-
oxoindolyliden),
Indigotin
C16H1ON2O2
Figure 2-8 Indigo formulation
Source : http://en.wikipedia.org/wiki/Indigo
16
2.2 Shibori (Tie-Dye)
Figure 2-9 Shibori
Source : http://www.flickr.com/photos/80187848@N00/2258021013
17
The common English translation of the Japanese word shibori is "tie-dye";
however, a more accurate translation is "shaped resist dyeing," which describes the
inherent patterning process of manipulating the two-dimensional cloth surface into
three-dimensional shapes before compressing them to dye. Three terms for separate
shibori methods have come into international usage: plangi, a Malay-Indonesian word
for the process of gathering and binding cloth; bandhani, an Indian term for the process
of plucking and binding cloth in small points; and tritik, a Malay-Indonesian word for
stitch resist. However, these three terms represent only two of the major shibori
techniques.
Many different types of shibori techniques have existed in the world. The oldest
examples–pre-Columbian shibori alpaca found in Peru and silk found in fourth century
tombs along the Silk Road in China–are from regions where the shibori traditions have
not survived to the present day. Shibori traditions existed for centuries in the Middle
East and in the Indian subcontinent. Presently, active production in great quantities
continues in western Africa, in southern China by minority people, and in the western
regions of India. A lesser degree of production continues in northern Africa, the Middle
East, Indonesia, and in the Himalayan region.
The materials and methods found in different shibori traditions vary widely,
reflecting environmental, economic, and social specificities. The fibers may come from
alpaca in the highlands of the Andes, sheep in the Himalayas, cotton grown in
southwestern China, or from abaca grown in the jungle of the Philippines. The basic
concept of shaped resist dyeing is apparent throughout a wide range of aesthetics, which
are manifestations of cultural diversity.
The development of the relatively newly established field of "wearable art"
overlaps with that of shibori, which offers unprecedented potential in creating a wide
range of textures on cloth. The rich sensuous colors and pliability of the material
respond well to the movement and flow of the body. The works now attract creative
individuals, celebrities, and collectors; and wearable art expression has established its
place between high fashion and art in North America.
18
2.2.1 Shibori in the world (resist dye ) :
Japan : Most of the dyes used to colour Japanese textiles were know by the Nara
period and over successive centuries their use grew more sophisticated . The origins of
the various dyeing techniques used to pattern cloth can also be traced back to early
period of Japanese history . However , until the middle of the Muromachi period textiles
for the elite tended to be pattern using weaving techniques . The subsequent increase in
the use of dye decorative techniques resulted from the growth of patronage . The
increasing demand for luxury cloth could not be met by expensive imports from China ,
or by domestic production of patterned –weave cloth . There also developed a new
interest in surface decoration and desire for a freer and more graphic style , which dye
motifs – not bound by the geometry imposed by weaving – could produce . The Edo
period witnessed the full development of the sophisticated dyed pictorial designs for
which Japan is famous .
Some Edo period dye houses specialized in a single color while othe dyed with
variety of colors . Although a fairly limited number of plants were used , an enormous
range of colors was produced . Dyeing is a very specialized skill and the top dye houses
carefully guarded their secrets . Kyoto was the dye center of Japan , but no village was
without its own dye house .
The earliest Japanese textile in the V& A’s collection dates from the first half of
seventeen century . Like many kimono fabrics it is combination of dyeing and
embroidery . It also features the use of gold leaf , surihaku , which has been fixed to the
cloth with paste applied through a stecil. The use of surihaku , often in combination
with embroidery and tie – dyeing , against a dark ground is feature of kimono from the
Keicho-Kan’ei eras (1596-1644) . After this time , metallic tread embroidery replaced
the used of surihaku .
The white spotted patterns have been created using a technique call shibori ,
which is usually translated as tie-dyeing . This patterning method involes the binding ,
stitching, folding or clamping of the cloth prior to immersion in the dye . The color does
not penetrate the protect areas . The tiny fawn-dot pattern is called kanoko shibori . in
this method closely placed small circles in diagonal rows are bound tightly with thread .
19
The tip of each tiny section of fabric is left unbound so that a small dyed dot appears in
the center of each undyed circle . After the dye is dry the bindings are carefully removed
Kanoko shibori was expensive and labour intensive and was usually used in
combination with embroidery . However , the V & A does have in its collection one
magnificent red kimono which is patterned all over using another technique .To meet
the demand and reduce the cost of kanoko shibori a stenciled version called kata kanoko
was introduced in the late seventeenth century
2.2.2 Shibori definition:
The common English translation of the Japanese word shibori is "tie-dye";
however, a more accurate translation is "shaped resist dyeing," which describes the
inherent patterning process of manipulating the two-dimensional cloth surface into
three-dimensional shapes before compressing them to dye. Three terms for separate
shibori methods have come into international usage: plangi, a Malay-Indonesian word
for the process of gathering and binding cloth; bandhani, an Indian term for the process
of plucking and binding cloth in small points; and tritik, a Malay-Indonesian word for
stitch resist. However, these three terms represent only two of the major shibori
techniques.Many different types of shibori techniques have existed in the world. The
oldest
examples–pre-Columbian
shibori
alpaca found in Peru and silk found in
fourth century tombs along the Silk Road in
China–are from regions where the shibori
traditions have not survived to the present
day. Shibori traditions existed for centuries
in the Middle East and in the Indian
subcontinent. Presently, active production
in great quantities continues in western
Africa, in southern China by minority
people, and in the western regions of India.
Figure 2-10 Kanoko shibori
Source : http://iweb.tntech.edu/cventura/Shibori.html
20
A lesser degree of production continues in northern Africa, the Middle East,
Indonesia, and in the Himalayan region.
The materials and methods found in different shibori traditions vary widely,
reflecting environmental, economic, and social specificities. The fibers may come from
alpaca in the highlands of the Andes, sheep in the Himalayas, cotton grown in
southwestern China, or from abaca grown in the jungle of the Philippines. The basic
concept of shaped resist dyeing is apparent throughout a wide range of aesthetics, which
are manifestations of cultural diversity.
The development of the relatively newly established field of "wearable art"
overlaps with that of shibori, which offers unprecedented potential in creating a wide
range of textures on cloth. The rich sensuous colors and pliability of the material
respond well to the movement and flow of the body. The works now attract creative
individuals, celebrities, and collectors; and wearable art expression has established its
place between high fashion and art in North America.
2.2.3 Shibori history:
Shibori was originally an art of the poor. In feudal Japan, many people could not
afford to buy expensive fabrics like cotton or silk, so clothes were often made of cheap
hemp fabrics. People could not afford to replace clothes regularly either, so they would
repair and redye them, and the art of Shibori evolved as a means of making old clothes
look new. Under the Tokugawa peace, many different arts flourished, and many
different techniques and local forms of Shibori emerged. Shibori developed along two
separate paths: as the method of decorating the silk used for producing kimonos for the
aristocracy of Japan (largely carried out in Kyoto), and as a folk art differing from
region to region.
During the Heian period (794 to 1185) when Kyoto was Japan’s capital, shibori
was used in court dress which included 12 layers of kimono! Each layer was carefully
chosen to complement the season and was dyed a subtlely different shade, with seasonal
motifs. After this period shibori spread to the provinces where indigo was used to dye
hemp and cotton clothing.
21
One of the most famous locations for Shibori in Japan is Arimatsu in Nagoya.
The most famous shibori-producing village is Arimatsu, founded in the 17th century
between Kyoto and Edo (modern Tokyo). Arimatsu pioneered several techniques
including using a hook to hold fabric while thread is wrapped around it, this is called
kanoko (fawn spot).
When he united Japan, the first Shogun, Tokugawa Ieyasu of Okazaki, moved the
capital of Japan to Edo (now Tokyo). Ieyasu required that all the Daimyo or feudal lords
travelled to Edo every other year to swear allegiance to him, and established 53 stations
on the road between Osaka and Edo for them to rest during the journey. To ensure their
safety, he encouraged the foundation of villages around these stations, one of which was
Arimatsu, the forty-second station on the Tokaido, which was settled in 1608 by eight
families.
While building a castle in Nagoya for his son, Ieyasu used workers from all over
Japan. One group from Oita brought with them the techniques of Shibori, and the local
families developed the technique to produce the particular beauty of Arimatsu Shibori.
Travellers along the Tokaido road would buy cloths and towels made by the people of
Arimatsu. Shibori is still produced in Kyoto and Arimatsu for high-end clients such as
geisha and maiko (not only for kimono but maiko also wear a piece of kanoko shibori in
their hair), but it is in serious danger of extinction.
During the samurai period, the merchant class was relatively powerless, and it
seems that they spent large amounts of money on various recreational activities,
including buying elaborate kimonos which served to boost the industry. With the
mechanisation of the Meiji Restoration, railways removed a lot of the traffic from the
Tokaido and seriously threatened the industry in Arimatsu. In response, many
mechanisation processes were developed to improve the efficiency of the production of
Shibori, but it was still a labour intensive process. However, with the popularity of
yukata until the Second World War, the industry enjoyed relative prosperity.
The depression following the Second World War reduced the demand for
expensive silk Shibori, but the economic boom of the 1960s saw a return to popularity
for the kimono and an increased demand for the skills of the artisans. Kyoto had always
22
been the home of the more expensive silk dyeing for kimonos, but the artisans of
Arimatsu expanded their range and experimented with the material, enjoying
considerable success. However, with the advent of artificial fabrics and dyes and fully
mechanised production of fabrics, Arimatsu could no longer compete on the large scale
it had before, and Shibori returned to a handmade high-quality high-price artefact.
Most of the artisans of Arimatsu worked out of their houses, meaning that the
architecture of the town is quite unique and is in itself a national treasure. Since most of
the work is manual, the same pattern produced with the same materials will be different
depending on the artisan. Each person is specialised in one of the particular techniques,
and often several people will work together to produce a single work.Artisans who have
been producing shibori for generations are struggling to pass their skills on. Many
shibori artists are in their 80s and 90s now because younger generations have chosen to
pursue Western-style careers – they are no longer obliged to follow their family.
2.2.4 Techniques
Shaped cloth resist
In Japan shibori designs and patterns are created by shaping the cloth in many
ways . Some of the ways have been widely used in other places by other peoples , some
are unique to Japan . Cloth may be drawn up and bound , stitched and gather up ;
pleated and bound ; folded and clamped between boards ; or wrapped around a pole then
pushed along it to compress the fabric into folds . Further , a cloth may be dyed
repeatedly , using a different shaping method each time .
Designs created in this way clearly reflect the touch of each worker . No two
persons fold or binding or stitch in exactly the same way . The work of one may be very
precise and even , that of another , looser and more free . Likewise , the amount of force
exerted on the binding thread , or in drawing up the stitching thread , or in compressing
the cloth into folds on the pole , varies from the person to the person . The effect of each
person’s hand ., and indeed temperament , on the shaping of the cloth becomes
imprinted by the dye in the finished piece . This characteristic makes for highly
individual results , even within a traditional framework .
23
(1) Binding :
A portion of cloth is drawn up with the fingers and held while a thread is wound
around it . Each turn of thread must be in tight contact with the previous one . Space
between binding threads allows dye to penetrate and mar the clarity of the resisted ring ,
and the number of turns of thread determines the width of the resisted area .
Resisted ring motifs created by close – wound binding are called ne-maki shibori
. Dots within tiny resisted areas are also bound by the close-wound method .
*Ring shibori
Undyed rings on a dyed ground is the simplest design possible to achieve with
shibori and may be the oldest . The fan sutra panting of twelfth century Japan shows a
short garment decorated in this way .
Thread resisted rings (ne-maki shibori ): White rings on the dark ground may be
used and single design elements or grouped and arranged in various way . The name nemaki shibori , literally , “base-wound shibori “ is used by Japanese to describe the
design as well as the ways the cloth is bound .
*Dot (Kankko shibori )
The tiny bound resisted so often seen in Japanese textiles may at first seem
similar in appearance but they differ in form , in use , and in the way they are bound .
Confusion exists among westerns about these minute resists , and in Japan itself there
are differences of opinion about types and names . Regional differences in the names
and processes add to the confusion .
For all types of Kanoko , silk is favored for its suppleness , sheen , and luxurious
quality and for another important and enhancing characteristic silk’s natural tendency
to retain , after it is dry , shape creases made in it when it is wet . This characteristic is
important because it preserves the crinkling or crimping effect of the binding thread on
the silk when it is dyed , resulting in the kind of textured , elastic textile mentioned
above , a unique characteristic of many Japanese Kanoko shibori fabrics
24
*Dots within squares (Hon hitta kanoko ):
The clear square from of the tiny resisted area and the extremely small size of
the center dot are the distinguishing characteristic of hon hitta Kanoko . The resisted
squares are usually repeated very close together , and the lines separating them create a
grid .
Figure 2-11 Dot (Kanoko shibori )
Source : http://chambredescouleurs.france-i.com/3012
*Medium dots within squares (chu hitta kanoko ) :
This
coarser
type
of
resisted dot pattern differs from
the preceding hon hitta kanoko in
several respect : the dots within
each of the square units are lager
and somewhat irregular ; the
square from of the resisted unit is
not as clear , which reduces the
sharpness and precision of the
grid .
Figure 2-12 Chu hitta kanoko
Source : http://www.dharmatrading.com/html/eng/9203396-AA.shtml
25
*Square ring dots (yokobiki kanoko ):
Square or rectangular resisted
rings
against
a
dark
ground
characterize this type of Kanoko .
The rings are usually somewhat
irregular in size and form , creating a
casual effect that reflects the fast
method of binding . left unpressed ,
the silk is textured but it is neither as
a light – reflecting nor as
elastic as textured hitta kanoko
Figure 2-13 Yokobiki kanoko
Source : http://chambredescouleurs.france-i.com/3012
*Linked dots ( tatebiki kanoko ) : the small round dots of tatebiki kanoko are
always repeated close together and have
appearance of tiny beads on a string .
Although
they
are
most
frequently
employed in the creation of linear designs
, for which they are ideally suited , rows of
linked dots repeated close together are
sometimes used to create a fine jewellike
textured surface .
Figure 2-14 Tatebiki shibori
Source : Yoshiko , Mary Kellogg Rice , Jane Barton ; The inventive Art of Japanese
Shaped Resist Dyeing , Kodansha International Ltd , PP 64 , 1983 .
26
*Haft – Dots (te-hitome kanoko ) in this distinctive form , the dot fills one-half
of the resisted area , which is usually oval or almond shaped .
Figure 2-15 Te-hitome kanoko
Shaped Resist Dyeing , Kodansha International Ltd , PP 65 , 1983
*Spaced Dots :
Silks bound with spaced dots are
prized for the subtle and subdued effect
created by the small size of the dots and
their spacing . Hon hiita kanoko is
dazzling , jewellike , tsukidashi kanoko is
finer and more restrained
Figure 2-16 Space Dots shibori
*Open – Wound Binding :
The special hook and blunt point used for open-wound binding in Japan allow
tension to be maintained on the cloth – the hook makes possible tiny resist units , fine
pleating , and evenly spaced binding thread , and the blunt point enables one to obtain
specific effect not possible with the hook .In the both case the thread is wound
27
counterclockwise around the shaped cloth , leaving uniform intervals between the turn
of the thread .
If the thread is wound from the base to top of the shape cloth , the lines resisted
directly by the thread form a spiral . But , if the thread is bound from base to top and
back to the base , the thread –resisted lines cross , the result of crisscrossing the thread .
* Spiral (Rasen shibori ) :
The small , soft square motifs in this design
are uniform in size and shape . A resisted spiral
line is clearly seen within each square .These lines
set up a dynamic movement , enlivening the
simple design .
Figure 2-17 Rasen shibori
Source :http://feed108.photobucket.com
* Spider web (Kumo) shibori :
Spider web shibori has long been known in
Japan . The fan sutra painting from twelfth century
show a simple hemp garment with a pattern that
resembles this type of shibori . It seems likely that it
continued to be used , because it frequently depicted
in the ukiyo-e print of the EDO period .
Figure 2-18 Kumo shibori
Source : http://gallery.passion4art.com/members/carol/DesignGallery1.html
28
* Looped Biding( Miura shibori ) :
Another type of special hook is used in looped binding in order to control the
size and shape of the bound unit . The cloth is shaped by pushing up a portion of it with
the index finger from the underside . The binding thread is looped around the tip of the
cloth-covered finger , the cloth within the loop of thread is caught and held by the hook ,
and the finger is withdrawn from the cloth as the loop is drawn
tight . The hook is left in place in the drawn –up cloth until it
is needle to catch and hold the cloth of the next unit . The
thread is not knotted on each loop –bound unit. Rather , the
various tensions on the binding thread hold the loops in space .
*Small shapes bound on the Weft Grain (hira miura
shibori ) :
The example illustrated shows the small resisted
shapes with soft outlines that appear to join them together in
rows .
Figure 2-19 Miura shibori
Source :http://gallery.passion4art.com/members/carol/DesignGallery1.html
* Small Shape Bound on the Bias ( Hitta miura shibori ):
The more regular square shape and small size of
the resisted forms , as well as the arrangement of the
suggesting a grid , create an allover pattern with some
resemblance to kanoko shibori . Guide marks are
stenciled on the cloth . The shaping and binding of the
cloth are as described the the previous technique
( hira miura ) except that the rows are bound on the bias.
Figure 2-20 Hitta miura shibori
29
(2) Stitching
* Cloth stitched and gather
Stitching as a way of resisting the dye has been used to a greater extent by the
Japanese then by other peoples . They have found , through the flexibility and control
that this technique allows , the means with which to create designs of great variety –
delicate or bold , simple or complex , pictorial or abstract .
The unique effects possible with stitched are created by the type of stitch ,
whether or not the cloth is folded , and the arrangement of the stitches. After the
stitching of a piece is completed , the cloth is drawn into tight gathers along the stitched
thread and secured by knotting . It is then dye. The cloth within the gather is largely
protect from the dye .
* Wood Grain (Mokume shibori ) : the balance of light an dark in this design
give it a textural quality unusual in stitch –resist patterning . The resemblance of this
pattern wood grain is enough . The beauty of
this type of stitch resist lies in the undulation
of the dark lines as they join and break and
join again .
Stitching and gathering : traditionally
, the stitching is done parallel to the weft
because this allows a shorter thread length ,
but the stitching may , in fact , be done in
any direction ; and as long as the repeated
rows are parallel to each other , the wood
grain patterning results . The length of the
stitches may be the same throughout or they
may vary in length from row to row .
Figure 2-21 Mokume shibori
Source : http://jtex.wordpress.com/2009/09/25/shibori-tie-dye-instructionsmokume
30
* Ori-Nui Shibori (Tatewaku pattern ) : This ancient design , of which the piece
illustrated is a folk shibori example shibori example , appears in woven textiles and
lacquerwave of the Heian period (794-118) , it can be
executed in various types of shibori , such as kanoko ,
maki –nui , and ori –nui . This design became popular
during the Edo period (1615 – 1868 ) , and during that
time a shibori adaptation of it appeared in the folk
textiles of Arimatsu .
Stitching and Gathering : The Ori –Nui
technique is as follow : cloth is pinched with the fingers
along lines of the design marked on the cloth . A single
row of running stitches is made close to the edge of fold,
which is pinched as the stitching is completed , the
threads are drawn up tight and knotted and cloth is
dyed .
Figure 2-22 Tatewaku shibori
source http://isatinctoria.blogspot.com/
* Japanese Larch ( Karamatsu
shibori): The dark radiating lines within
this design’s circular shape evoke the
form of the radiating branches of this
deciduous conifer native to Japan
Stitching
and
Gathering
:
concentric half circles are marked on the
cloth at the fold the units are in staggered
rows . A continuous thread is used to
stitch each row of half –circle Running
stitches are made through the two layers
Figure 2-23 Karamatsu shibori
Source : http://elainequehl.blogspot.com/2011/01/moredye-happy-4-flour-paste-resist.html
31
of cloth in the fold . When all the stitching is completed , the threads are drawn up tight
and knotted . When the cloth is opend flat after dyeing , the rows of full circles are
revealed .
*Linked Circles (Shippo –Tsunagi Pattern ): this classical design appeared as a
textile motif in Japan at least as early as the Nara period (645-794) ; a shibori example
decorated with this pattern is in the Shoso in collection . The design , composed of
interlocking circles of equal diameter and forming elliptical shapes where the circles
overlap , would appear to have been suggested by
an old form of Chinese coin . The name for the
design , shippo (Japanese) , translates as “seven
treasure “ and is Chinese in origin . Tsunagi names
“link”
Stitching and gathering : The design
marked on the cloth indicates the way the cloth is
folded before it is stitched . A fold is made along
the line of each arc . This fold is matched to the arc
adjacent , and the second fold is made , forming
two “ lips “ to the ellipse . The two folds are
brought together and held pinched between the
thumb and first finger , while the ends of the folds
are carefully pinched to meet in points . Running
stitches are made close to the edge of the two folds
through four layers of cloth , and one row of
designs is stitched continuously across the width of
the cloth . When the stitching is completed , the
thread are drawn up and secured and cloth is dyed.
Figure 2-24 Shippo –Tsunagi Pattern
Source : http://gallery.passion4art.com/members/carol/DesignGallery1.html
32
* Chevron Stripes (makinui shibori ) : the lines of
chevron characteristic of maki –nui shibori are here to create
a pattern of horizontal stripes .
Stitching and Gathering : the cloth is held on the hold
line with the fingers the stitching is done with a circular
motion of the needle ; it is inserted again from the back . The
thread is not drawn up with each stitch , but the cloth is
pushed over the eye of the needle onto the thread. After the
stitching is finished , the thread is drawn up and knotted.
Then , the cloth is dyed .
Figure 2-25 Makinui shibori
Source : http://www.agostinazwilling.it/03_corsi/03.1101_PatternShibori.html
*Stitching and Open –Wound Binding .
Squares (komasu), Hanawa Shibori : the simple design of “ small” squares
demonstrate how a technique limitation –the stiffening of the textile resulting from a
traditional dyeing method –is allowed to contribute to the beauty of the dyed design
rather than attempts being made to overcome or avoid this limitation .
Stitching : The cloth is folded in half on the warp grain , and the design is
indicated with a fugitive blue ink (aobana ) . The stiff cloth is difficult to stitch and
gather into fold , so the stitching is done a short length at a time with a long running
stitch . In the design of square ( komasu ) , each unit is stitched separately ; the thread is
drawn up and securely knotted . When the entire length of cloth is stitched , drawn up ,
and knotted , it is ready to be bound .
Binding : two shaped portion of cloth are caught on the needles of the tying
stand , and the shaped portion of cloth opposite them is bound . All the shaped units on
one side of the cloth are bound consecutively in this manner two adjacent shaped units
on the opposite side of the cloth are used
33
to anchor the cloth in the hook stand while each
shaped unit is bound.
The shaped cloth is not bound directly on
the stitching but slightly out from it on the neck
formed when the stitching is pulled taut . The cloth
is bound in two places . Several turns of the thread
are made each time , and the thread is securely
knotted . When all the units are bound , the cloth is
dyed .
Figure 2-26 Hanawa shibori
Source : http://silkshibori.wordpress.com/2011/03/19/stitch-shibori-2/
*Stitching and Crisscross Binding
A combination frequently used in Ariamtsu shibori , crisscross binding and
stitching provides a fast method and a wide range of design possibilities . Any motif of
any size may be resisted in this way . The crossed binding thread and the random folds
of the cloth create a distinctive patterning within stitch –outline moifs .
Both narrow and wide dark lines intersected by zigzag resisted lines where the
crisscrossing thread bind the shape .
Shaping and Binding : the outline of the design motif is stitched with running
stitches , and the thread is drawn tight , forming a neck in the cloth . The binding thread
is wound on the dowel , and the end is knotted
* Cloth Stitch and Core –Resisted
The Japanese use a core to protect the ground areas of stitch –resisted
design .This creates an effect unusual in resist dyeing , that of stitch –resist patterning
on an undyed ground . Both rigid and flexible cores are used .
34
The rigid core is used to reserve ground areas of linear designs create by
stitching . While it is possible to include small motifs as accents , the nature of the
process restricts the patterns to linear ones . However , with a flexible core it is possible
to reserve the background of many other types of stitch –resisted designs and to create
these designs with patterned background .
(3) Folding
* Cloth Pleated and Bound .
Binding and dyeing lengths of pleated cloth is a resist method used in Japan for a
least three hundred years. Early records at Arimatsu tell of a gift of silk horse reins,
decorated in this way that was presented in 1680 to the fifth Tokugawa shogun by the
daimyo of Owari, the feudal lord of the fief that included Arimatsu. The design of this
important gift, a combination of vertical stripes and horizontal bands, has been called
tazuna, “horse rein”, shibori ever since and, on occasion is still made in Arimatsu.
* Continuous Pleating
Forming the cloth into continuous pleats – by hand, machine, or stitching
– then binding it results in simple designs of vertical stripes. Repeating the process,
folding the cloth differently each time, adds variety, depth, and subtlety to the patterns.
If the cloth is pleated continuously in the regular way but is bound
intermittently, patterns of vertical stripes and plain horizontal bands result. To create yet
another effect, plain bands may be resisted by covering portions of the pleated cloth
with paper before it is bound.
The cloth is folded into uniform vertical pleats, the folds of which are
extended a few centimeters at a time. The first pleated length is held together with
thread and the thread is wound around it as the pleating progresses. This thread (kakeito) is not wound with enough tension or at close enough intervals (the turns of the
thread are about 4cm/ 1½ in apart) to bind the cloth, it merely holds the pleats together
in a ropelike shape. The cloth is then bound when all of it is pleated and secured in this
way.
the threads are drawn up. The cloth is brushed with starch to set the pleats, dried, and
bound .
35
* Reversed Pleating .
The cloth is folded across its width into uniform pleats, with the folds extended a
few centimeters at a time, until the point is reached at which the pleating is to be
reversed. The pleats are held together with the kake-ito thread. In the next step the cloth
is pleated so that the knife-edge folds of pleats in the fist section are succeeded by
depressed folds, and the depressed folds of that section become knife-edge folds. When
this process of pleating and reversed pleating has been completed, the cloth is bound to
rope core. This type of pleating, called midori,
results in patterns of tapered leaflike forms.
**Willow Leaf (midori shibori): The tapered
forms of midori shibori suggest the willow’s slender
leaves, this is often combined with vertical stripes
(tesuji) and rarely with stitched motifs. This is the most
difficult way of pleating and is no longer done.
Traditionally the pleating is done without any
marks on the cloth to indicate the reversing of the
folds, however, anyone attempting to use the process
would be well advised to mark the desired length of the
pleats and to indicate which are knife folds and which
are depressed ones.
The cloth is pleated across the width, several
turns of kake-ito thread are made, holding it to the rope
core, and the cloth is pleated again with the folds
reversed. The kake-ito thread is wound for several
turns at intervals determined by the desired length of
the leaflike form. After the cloth is pleated, it is bound
in the usual way.
Figure 2-27 Midori shibori
Source : http://www.flickr.com/photos/10297659@N05/page
36
* Variegated Pleating .
Willow (yanagi shibori): Graceful, flowing lines,
created by irregular pleating of the cloth, strongly suggest the
supple cascading effect of the weeping willow. These designs
are immediately identifiable, yet no two are ever alike. No
guiding marks are made on the cloth to indicate the lines or to
locate the small motifs that are often included.
Figures 2-28 Yanagi shibori
Source : http://narablog.com/2010/02/28/yanagi-shibori-yukata-2/
*Cloth Pleated and Stitched .
Katano Shibori (an adaptation): The cloth is
folded into vertical pleats, which are held between
protective strips made of folded cloth. Stitching is then
done through all of the layers. The pressure exerted on
the cloth by the stitches and protective strips serves to
define the elements of the design by directing,
channeling, and controlling the dye penetration.
Figures 2-29 Katano shibori
Source : http://shiboriorg.wordpress.com/traditions/motohiko-katano/_katano2-sample1/
37
*Cloth Folder and Clamped
Dyeing cloth that is folded in two or more directions into a neatly shaped bundle
and held clamped between boards or sticks is an art historian’s enigma. There are eighth
century examples in the Shoso-in, but subsequent examples are so scarce until the
nineteenth century that doubt is cast on this technique existing in Japan before the latter
date. Chemical blues bleed into beautiful, soft effects with this technique, where-as
indigo does not penetrate deeply into the many layers of cloth. It does seem to indicate
that board-clamping of folded cloth may have developed from or appeared with the
introduction of chemical dyes.
Cloth decorated by folding and clamping until relatively recently was used to
line simple garments or for baby diapers. The latter were often homemade and given as
gifts for the newborn infant. Anything so commonplace was unlikely to be recorded or
preserved. The cloth was used until worn out; few examples remain. Although cloth
dyed in this way is rarely seen today, decorative paper is made by folding and dyeing in
a similar fashion. The technique is also employed in nontraditional ways by Japanese
artist-craftsmen.
The process is simple enough. Cloth is folded into wide vertical pleats. The
pleated cloth strip is then repeatedly reverse folded, either horizontally or diagonally,
into a square, rectangular, or triangular form. This creates a neat bundle for folded cloth
that is fitted between boards or sticks, held in place with cord, and dipped selectively in
the dye. The multiple folds create simple geometric patterns, and the dye is drawn into
the folds, creating a distinctive soft-edge effect. In Arimatsu-Narumi, the general name
for both patterns and process is sekka shibori, snow crystals (literally, “snow flowers”).
The term in more general use is itajime. This word stands alone; the term itajime shibori
is not used.
The shape of the folded cloth, the amount of pressure exerted on it by the
clamping device, the areas that are dipped in the dye (it is never completely immersed),
and the length of time the cloth remains in contact with the dye all effect the out come.
38
The action of the dye often creates totally unexpected effects-perhaps it is the
element of surprise, as well as the quick results that makes the process an immediately
rewarding one. The traditional designs that are reproduced in the examples here will
suggest many possibilities to the creative reader.
Board Clamps: Flat pieces of wood cut to the appropriate size and shape are the
most usual type of clamp. If the cloth bundles are small, balsa wood works very well,
since it is easy to cut with a sharp knife or fine coping saw. Masonite or other hard
board or foam board used for architectural models may also be used. When the
placement of the binding cords is determined, matching notches are cut into the two
pieces of wood or other material. The notches prevent the cord from slipping. The term
itajime literally means “board clamping”.
Stick Clamps: Flat smooth sticks are also used as clamps (balsa wood, readily
available in a variety of sizes is easy to cut and split). These are placed on both sides of
the cloth bundle and bound around with cord. In some cases the sticks are not cut all the
way through but resemble a pair of Japanese disposable chopsticks before they have
been split apart. Several folds of the cloth are laid between them, and the open ends are
bound together. Clamping between sticks is called bojime.
Triangles (sankaku pattern): In the example illustrated, the structure of the
design is that of a grid, reflecting the square shape into which the cloth was folded when
it was clamped and dyed. The circular
design elements, however, are one of
the surprise results mentioned above. A
pattern composed of triangular forms
was expected, but the action of the dye
transformed straight lines into curves.
Why the dye seeped into the cloth in
this way is unclear. It just did.
Figure 2-30 Sankaku pattern
Source : http://www.flickr.com/photos/alsokaizen/2231269785/in/photostream/
39
*Tortoiseshell (kikko pattern): The traditional oriental tortoiseshell pattern of
hexagons appears frequently in Japanese textiles. In the sekka shibori, the soft-edge
quality that the dye seepage imparts to the lines creates an effect reminiscent of frostpatterned windowpanes. The triangular structure of the design is clear.
Figure 2-31 Kikko Pattern
Source : http://suzannesstitches.blogspot.com/2009/11/shibori-and-old-dyes.html
*Lattice (naname goshi pattern): The interplay of horizontal, vertical, and
diagonal lines creates a strong
patterning of dark and light. The
triangular structure is obvious.
Figure 2-32 Naname goshi pattern
Source:http://vickiwelsh.typepad.com/field_trips_in_fiber/2011/04/shiboridyeing.htm
40
(4) Pole –Wrapping
* Cloth Pole –Wrapped and Compressed
Arashi, “storm”, is
the name the Japanese have
given patterns resist-dyed
by an ingenious process of
wrapping cloth around a
pole, compressing it into
folds, and dyeing it. Indeed,
many
of
the
diagonal
patterns suggest rain driven
by a strong wind. The
particular
quality
and
sublety of the patterns are
fully revealed only in a length
Figure 2-33 Dragon tail shibori
Source : http://www.helenbolland.co.uk/about.html
of cloth. Small samples are
insufficient. These patterns are by no means haphazardly achieved, but not even the
most skillful worker has complete control were possible, the results could hardly be call
arashi, for it is precisely the irregularities, like those in the changing patterns of winddriven rain, that give these fabrics their special beauty.
Original process: Following its invention in 1880 (Meiji 12), five years were
spent perfecting the process. By the late Meiji period, arashi-patterned cloth had gained
great popularity. During its relatively short history, more than one hundred different
patterns were created.
While shibori is traditionally, although not exclusively, done by women working
in there homes, arashi shibori was always produced by men in small workshops, where
there was space to accommodate the large dye vats and the stands to wind the long poles
The term bomaki, literally “pole-wound”, is used in shibori to describe any
process in which a pole is used a core to protect one side of the cloth from the dye.
Although it is descriptive of the process used in arashi shibori, it is also correctly
41
applied to rigid core shibori and cloth shaped around a pole. It is general term, not a
specific name for one process.
In the original arashi process, the cloth is wrapped around a slightly tapered
wooden pole set in a horizontal position in a device that allows the pole to be rotated
with a hand-turned crank or small motor. Thread is then wound on the cloth-covered
pole. One worker, the arashi craft-man, controls the thread as it winds onto the rotating
pole, which is rotated by his assistant. Together, the two workers periodically push the
thread-wound cloth along the pole into compressed folds. The slight taper of the pole
makes this easier. When the pole can hole no more cloth, it is removed from the
supporting beams and immersed in troughlike indigo vats. To dip the heavy poles into
the dye bath required at least two workers. The high cost of labor and indigo, the
introduction of chemical dyes, and competition from machine-printed cloth finally made
the original process of dyeing on a long pole obsolete.
Cloth is wrapped around the plastic cylinder and held in place temporarily with
masking tape. To wind the thread, the cylinder is held in an almost vertical position with
one end resting on the floor. It is held at the top and the rotated with the left hand, white
the right hand controls thread tension and placement.
Unlike the pole used in the original process, the cylinder is not tapered, making
it somewhat difficult to push the cloth along it. This is overcome by winding the thread
over a small portion of the wrapped cloth at a time and then pushing the cloth into folds.
To compress the cloth, the cylinder is grasped with both hands, and, with the top braced
against a wall of fixed object, the cloth is pushed towards the top of the cylinder. The
steps are repeated until all the cloth is in tightly compressed folds. The thread is
securely fastened, and the cloth is ready to be dyed. The cylinder may be set upright in
an indigo vat or in the heated dye pot.
Basic Process
Arashi shibori patterns may be divided into two general types: those compose of
lines and those of small, diamondlike forms. Innumerable variations and combinations
are possible. Each one of the four steps of the process – wrapping the cloth; winding the
thread; compressing the cloth; and dyeing – may be carried out in the different ways.
42
Each change affects the final design. The four-steps process may be repeated once or
several times. Each time it is repeated, additions are introduced or the design is subtlely
altered.
The cloth may be stitched together at the selvages into a tube. If the tube fits
snugly on the cylinder, the cloth can be compressed - thread is not needed – into
controlled but discontinuous folds, creating patterns of undulating lines that join and
break. If the cloth tube fits loosely on the cylinder, a different process is required .
Cloth pushed straight along the cylinder into folds results in patterns composed
of lines. However, when the cloth is twisted as it is pushed, pattern of diamondlike
motifs are formed.
The cylinder now is usually immersed in water to thoroughly wet the cloth
before dyeing. This step is especially important when indigo is used because it not only
assures a more even dye penetration but prevents bubbles from being caught in the folds
and thus inhibiting the dyeing process. Also, when water is in the folds, the dye does not
penetrate as far, and the final effect is sharper than with dry cloth.
Different types of dye and, indeed, different colors of the same type have
different rates of the penetration, a fact that may be utilized to obtain beautiful effects.
Process Variations
By varying the four basic steps described above, different arashi effects may be
achieved. For example, surface resists applied to the compressed cloth, cylinders of
different diameters, fine and heavy wingding thread, and discharge dyeing all may be
used to further expand the design possibilities of the process.
Surface Resists: Portions of the compressed cloth may be resisted by covering it
with strips of cloth or plastic to create patterns within patterns, or the winding thread
may be used as a surface resist. In this case certain areas of the cloth are left without
being compressed into folds; the winding thread lying on the surface of flat cloth will
resist the dye, creating fine, undyed lines within bands of color.
Stripes: Lines, uniform width and precisely spaced at equal intervals, create
either clean, crisp, somewhat static effects or bold patterns of bands depending on the
43
stripes width and arrangement. When the lines show variation in width – expanding and
contracting along their length – the results are more dynamic.
* Diagonal Stripes (hosoito ichido kairyo)
.
Figure 2-34 Hosoito ichido kairyo
Shaped Resist Dyeing , Kodansha International Ltd , 1983 .
* Horizontal Stripes (hosoito yoko kairyo)
Figure 2-35 Hosoito yoko kairyo
Shaped Resist Dyeing , Kodansha International Ltd , 1983 .
44
Irregular Lines: Irregular lines that join and separate randomly create strong,
dynamic designs, suggesting the patterning of wood. The direction of the lines may be
vertical or horizontal .

Vertical Wood Grain (tate omokume)
Figure 2-36 Tate omokume
Source http://zquilts.blogspot.com/2009/06/joan-morris-final-day-ofworkshop.html
Horizontal Wood Grain (yoko omokume)
Figure 2-37 Yoko omokume
Source : http://www.flickr.com/photos/elisefilt/sets/72157606608667172/detail
45
* Diamondlike Motifs: The diamondlike motifs of these designs result from
twisting the cloth as it is compressed on the cylinder, making broken folds.
Vertical Diamond (ochiri)
Figure 2-38 Ochiri
Source : http://narablog.com/category/places-of-production/page/22/
* Diagonal Diamond Net (hasu ami):
Figure 2-39 Hasu ami
Shaped Resist Dyeing , Kodansha International Ltd , PP 132, 1983 .
46
* Horizontal Diamond (yoko chiri)
Figure 2-40 Yoko chiri
* Horizontal Diamond Net (yoko ami)






Figure 2-41 Yoko ami
Shaped Resist Dyeing , Kodansha International Ltd , PP 133, 1983 .
47
* Crossed Diamonds (take yoko chiri):
Figure 2-42 Tate yoko chiri
Source :http://narablog.com/2008/07/09/arashi-shibori-yukata-4/
Patterns Created by Altering the Basic Process
* Surface Resist
**Diamond Stripe with Surface Resists (nuno maki goten sakura): The total
effect of the surface resists is difficult to see in the small sample illustrated. It is
possible, however, to see that the areas resisted are neither sharply defined nor uniform
in width. In some places the stripes have been covered, in others the diamond motifs.
(See Plate 255 for a similar pattern made with surface resists). Any arashi pattern may
be treated in this way.
(1) Cloth is placed on the pole at a 45 angle and wrapped
counterclockwise.
(2) Pole is rotated clockwise to wind the thread.
(3) Cloth is pushed straight to compress it into folds. Strips of cloth are wound on top of
the compressed cloth.
(4) Cloth is pole-dyed, dried without rising it, and removed from the pole.
The compressed cloth is opened out a bit but not stretched, then wrapped
counterclockwise around the pole.
48
(5) Pole is rotated clockwise to wind the thread.
(6)Cloth
is
twisted
clockwise
to
compress it into folds. Strips of cloth
are wound in top of the cloth.
(7) Cloth is pole-dyed.
Figure 2-43 Nuno maki goten sakura
* Poles Of Different Diameters
** Ripples (sazanami)
Figure 2-44 Sazanami
49
**Angle wings (hagoromo)
Figure 2-45 Hagoromo
Source : http://narablog.com/2007/12/09/arashi-shibori-yukata-3/
*Different Weight threads :
**Tiger (kairyo tora)
Figure 2-46 Kairyo tora
50
**Tiger Stripes (ami tora)
Figure 2-47 Ami tora
51
Chapter 3
Design methodology
The content of chapter 3 consists of three part :
3.1 Research Process
3.2 Fashion Trend
3.3 The fashion collection of “Blue Memory ”
(1) Fashion image
(2) Fabric and key colors
52
3.1 Research process : The research process is shown in this flow chart .
1.Identifying research Purpose and Objectives
2. Review the research literature
Indigo dyeing
Shibori ( Resist –dye )
3. Choose main technique
4 Choose color and fabric.
5. Testing color and fabric
Beadwork
testing
6. Drawing the design
7. Fabrication
dyeing testing
Discussion and Comment
8. Cutting + Sewing + Beads work
9.Complete the fashion collection
Discussion and Comment
10 .Write thesis
3.1.1 The researching steps : There are eleven steps in the process
Step 1 : Identifying research Purpose and Objectives
The purpose : “ The Blue Memory ” – A fashion collection is designed base on
the research of shibori (tie -dye) with indigo blue , which has basic color of Japan
shibori . Nui Shobori is the main technique applied to fashion collection and the
costume structure of collection is based on the kimono inspiration , to fold fabric like
Origami in order to create “A Piece of Cloth” , and some of costume are made by the
draping way .
53
 Research objectives :
-Choose style : The kimono structure and some details are took out and applied for
the collection .
-Choose pattern : Nui Shibori .
-Choose colors for the collection .
-Choose fabrics .
Step 2 : Review the research literature : sourcing about Indigo dye , Shibori technique .
To collect as many as possible all documents relating to the applications of
Shibori technique into fashion , which are included the history and fashion news of
Indigo dye , Shibori technique , Shibori pattern and the designs .
Step 3 : Choose the main technique :
There are four way to create Shibori patterns and mix them together . The
main technique applied to fashion collection is Nui –Shibori .
Step 4 : Choose color and fabric :
(1) Choose color : Blue indigo . There are many colors of Shibori but Indigo
blue is the familiar color of Japan shibori .
(2) Choose fabric materials : Cause Indigo dye is organic original , the fabrics
selected are also the same origins .
Step 5 : Testing color and fabric .
(1) To try on four ways of Shibori techniques
.
Figure 3-1 Sample testing
54
(2) Taking out the main technique
Figure 3-2 the main technique
Step 6 : Drawing the design .
(1) Style design: The main design strategy is the outer garment inspired from
Japan traditional costume .
(2) Pattern design: Nui-Shibori technique is the main technique and mix with
some other kinds of shibori .
(3) Clothing structure : Origami structure is applied in the structure of fashion
collection .
Step 7 : Fabrication : Pleating and beading are mixed with Shibori pattern , which are
decorated on fabric surfaces .
Step 8 : Clothing making .
(1) Pattern makings for all products .
(2) Sewing process .
(3) Beads work is conducted after finished the sewing process.
Step 9 : Complete the fashion collection .
Step 10 : Write thesis
3.1.2 The timeline for research process :
 In Taiwan : first year
(1) From September 2009 to March 2010 : Research and review documents to
source ideas for the collection .
(2) Design the draft sketch .
(3) Adviser suggests the structure and information required in the essays , color
scheme, sketch comments .
55
(4)From June 2010 to July 2010 : Write three chapters of the thesis . At the same time ,
looking for appropriate fabrics and trying to make a sample pattern .
 In Viet Nam : second year
(1) Choose fabric materials , design Shibori pattern , pattern making of style designs .
(2) Checking fabric materials again. Cutting fabric and applying shibori technique and
dyeing . After dyed , checking the color shade again, shining shadow of fabric was
altered if it was not appropriate .
(3) Sewing process : Finish the final works include beads work .
(4) Photos shooting .
 In Taiwan : From May 2011 to July 2011 : Fashion show , exhibition , writing
thesis , final report and defense of Master thesis .
3.2 Fashion Trend .
In fact , my collection is still following to the trendy of fashion in over the world
. The passion from Japan culture with Kimono , Origami and now is the tie –dye ,which
is the traditional craft of Japanese .
The structure of cloths are influenced from Kimono on the dress and origami on
the jacket . Beside that , It had been beaded some beads and the sequins on the fabric
surface . However , most of the fashion designers want to call anyone to protect the
environment with eco –fashion , recycle fashion and make the costume with organic
original . So , that is why in my collection , I mixed some kind of fabric like : silk ,
cotton , taffeta and all of them are organic original .
Influence : Oriental is an unlimited passion with Western designers. So many
collections were made and shown to people about Oriental image . Some of them used
shibori (tie – dye ) like the way to make their fabric which is very attractive . There are
Oscar de Larenta . Takoon , … etc . Beside these designers , they took the ideas from
Japan paper folding art: origami , kirigami and applied them to their works like John
Galliano .
56
3.3 The fashion collection of “ Blue memory ”
3.3.1 Image borad :
Figure 3-3 (Oscar de Larenta)
Figure 3-4 (Oscar de Larenta)
Source http://www.blackandtrendy.com/fashion/7373/
Source : http://www.polyvore.com/firefly_inspired/collection?id=92510
57
(Thakoon )
Figure 3-5 ( Thakoon )
Figure 3-6 ( Thakoon)
Source : http://www.dealio.com/blog/2009/01/chic-for-cheap-thakoon-for-target/
58
Source :
http://www.style.com/fashionshows/complete/slideshow/S2007CTR-
CDIOR?event=show1545&designer=design_house27&trend=&iphoto=7#slide=7
Figure 3-7 (Jonh Galliano)
Figure 3-8 ( John Galliano )
Source : http://www.style.com/fashionshows/complete/slideshow/S2007CTRCDIOR?event=show1545&designer=design_house27&trend=&iphoto=10#slide=10
59
Figure 3-9 (John Galliano)
Source : http://www.style.com/fashionshows/complete/slideshow/S2007CTRCDIOR?event=show1545&designer=design_house27&trend=&iphoto=7#slide=7
60
3.3.2 Fabric and key color :
(1)
(2)
(3) (4)
(1) Dark Indigo Blue ; (2) Indigo Blue ; (3) Sky Blue ; (4) Pale Sky Blue
Figure 3-10 fabric and key colors
61
Chapter 4
Design Results
In this Chapter display : The style designs of fashion collection
1. Color sketch
2. Flat
3. Pattern making : Developing flat to blocks .
4. Detail
5. Styling poster
6. Fashion show and Exhibition
62
4.1 Style design 1
4.1.1 Color sketch 1
63
4.1.2 Flat style 1
Front
Back
64
4.1.3 : Block design style 1 :
Blocks of Jacket ( Front )
×2
×2
×2
×2
×4
×4
×4
65
Style 1 : Blocks of Jacket ( Back )
×2
×2
66
Style 1 : Blocks of Dress
67
Dress Pattern : Front
×2
(1)
Dress Pattern : Back
×2
(2)
×2
(1) &(2) : Double Layers
68
4.1.4 Detail of style 1 : In this style , base on the manerquine , the shape of
costume is figured out , pleated and beaded on the shouder . The structure of Origami
was applied to create the volume .
69
4.1.5 Styling 1
70
4.2 Style design 2
71
4.2.2 Flat style 2
Front
Back
72
4.2.3 Block design style 2 :
Blocks of Dress
73
Style 2 : Block of Dress
×2
×2
×2
×2
74
Style 2 : Blocks of jacket (draping)
×2
×2
Back
75
4.2.4 Detail of style 2 : In this style , the Bolero suit is made by drapping way combine
to Origami structure . Beading in the middle line of shibori pattern .
76
4.2.5 Styling 2
77
4.3 Design style 3
4.3.1 Color Sketch 3
78
4.3.2 Flat style 3 ( Dress )
Front
Back
79
4.3.2 Flat style 3 ( Jacket )
Front
Back
80
* Blocks of Dress
81
82
Style 3 : Blocks of Jacket
83
Style 3 : Blocks of Jacket
84
4.3.4 Detail of style 3 : In this style , the random shibori technique is combined to
beads work . The structure of Origami was applied to sleeves and traditional collar of
kimono .
85
4.3.5 Styling 3
86
4.4 Design style 4
87
4.4.2 Flat style 4
Front
Back
88
Blocks of Shirt ( Front )
89
Style 4 : Blocks of Shirt (cont)
90
Style 4 : Blocks of Shirt ( Back)
91
Style 4 : Blocks of Shirt ( Back cont. )
92
Style 4 : Blocks of skirt
93
4.4.4 Detail of Style 4 : Appling Origami structure to collar , sleeves . Beads works .
94
4.4.5 Styling 4
95
4.5 Design style 5
4.5.1 Color Sketch 5
96
4.5.2 Flat Style 5
Front
Back
97
4.5.3 Block design style 5 : Blocks of Jacket
98
Style 5 : Blocks of Dress ( Front)
99
Style 5 : Blocks of Dress ( Back )
100
4.5.4 Detail of Style 5 : This suit made by drapping way , beads work is applied on
shouder with the large size of beads , crystal …
101
4.5.5 Styling 5
102
4.6 Fashion Show And Exhibition
Figure 4 -1 Fashion show in Shute University
103
Figure 4-2 Exhibition in Shute University
104
Chapter 5
Conclusion
5.1 General conclusion
The beauty of each culture is alive forever with the time. As a result of this
research and application, I have learned deeply about indigo blue, and its history from
Europe to Asia. I have the answer for all the questions that I have at the beginning. I
completed the fashion collection which is included Japan culture and the techniques I
learnt. The passion with indigo and origami lead me to the ideal of the fashion
collection.
During the process of researching and creating the collection, I faced many
difficulties, from which, however, I gain many lessons as well as advantages. Foremost,
I was ambitious to put everything into work, which was all the styling and motifs that I
learnt from the research. However, in the frame of this collection, the motifs and styling
have been constantly changed after I did research and reference about the fashion trend,
I was influenced by some fashion designers. The shape of origami art had been used in
order to create the style and the motif for this collection. I chose the Nui Shibori
technique to apply to my collection. This effect is the main technique I used . Besides, I
mixed with some other techniques to create the surface treatments .
In addition to what I have mentioned, I spent a lot of time to test some different
fabrics . As the consequence, I found the way how to make the Shibori motifs and still
keep the shinning shadow of the fabric.
Although , this fashion collection is not enough for one fashion show , it
satisfied my passion and shows my inspiration through my deep-hearted work.
105
5.2 Difficulties
At the start , I was confused cause have so many things I want to put in my
collection , like the stylings or the motifs .
* Styling : In frame of kimono structures , I want to put many things together . It
made my collection quite complicated and out of focus .
* Costume structure : I would like to convey the idea of costume structure in my
fashion collection but it was not obvious in my draft sketches . Then I tried again and
design my new styles .
* Pattern : In this sketches as Figure 5-1 , the patterns looked so busy and tinny ,
and let all the styles of fashion collection had no connection .
* Material : Most of the fabrics are organic original which can not be kept the
shining shadow after dyed .
Figure 5-1 Draft Sketches
106
5.3 Solving the difficulties
Motifs and styling have been changed after I did research and reference about
the fashion trend I was influenced by some fashion designers . Then I used the shape of
Origami in order to create the volume or structure of costume .
I found the method to keep the shining shadow of the fabric after dyed .
Figure 5-2 Keeping the shining shadow of the fabric
The method of process :
Step 1 : At the beginning , I drew draft pattern on white fabric based on the traditional
way of shibori techniques .
Step 2 : Using thread , needle to stitch the draft pattern and then tied it .
Step 3 : Indigo dyeing .
Step 4 : After dyeing process , I checked again the shining shadow and color shade of
fabric . In fact , Fabric could not be kept the shining shadow after dyed . I spent a lot of
time to try many ways to make it more shining after dyed . Finally I found a way to
solve this problem that I combined with the process of industrial dye . I put it inside the
pressure –cooker and set the temperature around 1000oC .
The next process is to take fabric out of the pressure –cooker and soak it in NAOH (280
- 300g/l) for one hour , then to check again for the shining shadow and soaked with
fresh water and dried it .
107
Shibori Pattern Design
Stitching
Dyeing
Checking
Hight temperature at ( 1000 oC)
Soaking in chemical
(NaOH 280 - 300g/l )
Checking
Washing in fresh water
Drying
New fabric ( pattern or shibori)
Figure 5-3 Dyeing process diagram
5.4 Futher development
For further research, I would like to put my effort to extend this fashion design
to the other culture and discover about their passion in indigo art. I would also suggest
the other researchers to study deeply on application of indigo with their culture and
fashion taste in their country , I believe they will create many valuable collections for
the world .
108
References
[1] Jenny Balfour –Paul , “Indigo” , British Museum Press , 1998 .
[2] Janice Gunner , “Shibori for Textile Artists” , Kodansha International Ltd . 2007 .
[3] Karren K. Brito , “Shibori –Creating colors and texture on silk” , Watson –Guptill
Publication , 1983 .
[4] Mandy Sothan , “Shibori Design & Technique” , Search Press Limited , 2008 .
[5] Yoshiko , Mary Kellogg Rice , Jane Barton ; “The inventive Art of Japanese Shaped
Resist Dyeing” , Kodansha International Ltd , PP 134 , 1983
[6] Indigofera australis . Retrived on 22th May at
http://www.anbg.gov.au/gnp/gnp1/indigofera-australis.html
[7] Isatis tinctoria . Retrived on 22th May 2010 at
http://commons.wikimedia.org/wiki/File:Isatis_tinctoria.JPG
[8] Saith Ffynnon Wildlife Plants . Retrived on 22th May 2010 at
http://www.7wells.co.uk/persicaria-tinctoria-polygonum-tinctorium-103-p.asp
[9] Strobilanthes: Reference . Retrived on 22th May 2010 at
http://www.thefullwiki.org/Strobilanthes
[10]Lonchocarpus cyanescens(Elu)isan . Retrived on 24th May 2010 at
http://www.medicinalplantsinnigeria.com/gallery_l/slides/Lonchocarpus%20cyane
scens%28Elu%29isan.html
(i)
[11] Marsdenia tinctoria 絨毛芙蓉蘭 . Retrived on 24th May 2010 at
http://www.flickr.com/photos/judymonkey/page784/
[12] Herbal Gaderns in India . Retrived on 24th May 2010 at
http://www.dmapr.org.in:8080/nwhgi/nwhgi/showSpecies.action?spcode=163
Article II.
[13] Indigo . Retrived on 24th May 2010 at
http://en.wikipedia.org/wiki/Indigo
Article III.
[14] Shibori – teinture de textiles au Japon . Retrived on 24th May 2010
at
http://chambredescouleurs.france-i.com/3012
109
[15] Kanoko shibori . Retrived on 24th May 2010 at
http://www.dharmatrading.com/html/eng/9203396-AA.shtml
[16] Shibori – teinture de textiles au Japon . Retrived on 24th May 2010 at
http://chambredescouleurs.france-i.com/3012
[17] Traditional Japanese Shibori Designs Indigo . Retrived on 24th May 2010 at
http://gallery.passion4art.com/members/carol/DesignGallery1.html
Article IV.
[18] Japanese Textiles . Retrived on 25th May 2010 at
http://jtex.wordpress.com/2009/09/25/shibori-tie-dye-instructions-mokume
Article V.
[19] Isatinctoria . Retrived on 25th May 2010 at
http://isatinctoria.blogspot.com/
Article VI.
[20] Quilt Artist, Teacher, Dyer . Retrived on 25th May 2010 at
http://elainequehl.blogspot.com/2011/01/more-dye-happy-4-flour-paste-resist.html
[21] Asa-No-Ha Shirokage Shibori . Retrived on 25th May 2010 at
[22] Kumo Shibori . Retrived on 25th May2010 at
[23] Awase-nui Shibori . Retrived on 25th May 2010 at
http://www.agostinazwilling.it/03_corsi/03.1101_PatternShibori.html
Article VII. [24] Stitch Shibori . Retrived on 25th May 2010 at
http://silkshibori.wordpress.com/2011/03/19/stitch-shibori-2/
[25] http://www.flickr.com/photos/10297659@N05/page
[26 ] Yanagi Shibori Yukata . Retrived on 27th May 2010 at
http://narablog.com/2010/02/28/yanagi-shibori-yukata-2/
[27] World Shibori Network . Retrived on 27th May 2010 at
http://shiboriorg.wordpress.com/traditions/motohiko-katano/_katano2-sample1/
[28] itajime-2final . Retrived on 27th May 2010 at
http://www.flickr.com/photos/alsokaizen/2231269785/in/photostream/
[29] Shibori and old dyes . Retrived on 27th May 2010 at
http://suzannesstitches.blogspot.com/2009/11/shibori-and-old-dyes.html
[30] http://vickiwelsh.typepad.com/field_trips_in_fiber/2011/04/shibori-dyeing.htm
[32] Dragon's Tail . Retrived on 27th May 2010 at
http://www.helenbolland.co.uk/about.html
110
[33] The Final Day Of The Workshop . Retrived on 27th May 2010 at
http://zquilts.blogspot.com/2009/06/joan-morris-final-day-of-workshop.html
[34] Shibori . Retrived on 17th June 2010 at
http://www.flickr.com/photos/elisefilt/sets/72157606608667172/detail
[35] Sakai Sarasa . Retrived on 17th June 2010 at
http://narablog.com/category/places-of-production/page/22/
[36] Arashi Shibori Yukata . Retrived on 17th June 2010 at
http://narablog.com/2008/07/09/arashi-shibori-yukata-4/
[37] Arashi Shibori Yukata . Retrived on 17th June 2010 at
http://narablog.com/2007/12/09/arashi-shibori-yukata-3/
[38] Black & Trendy .
http://www.blackandtrendy.com/fashion/7373/
[39] Shibori treasure . Retrived on 17th June 2010 at
http://www.polyvore.com/firefly_inspired/collection?id=92510
[40] Chic for Cheap: Thakoon for Target . Retrived on 17th June 2010 at
http://www.dealio.com/blog/2009/01/chic-for-cheap-thakoon-for-target/
[41]Christian Dior Spring /Summer 2007. Retrived on 17th June 2010 at
http://www.style.com/fashionshows/complete/slideshow/S2007CTRCDIOR?event=show1545&designer=design_house27&trend=&iphoto=7#slide=7
[42] Christian Dior Spring /Summer 2007. Retrived on 17th June 2010 at
0
[43] Christian Dior Spring /Summer 2007. Retrived on 17th June 2010 at
111

Shu-Te University College of Design Graduate

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