The Symposium started with a reception of the stunning Takeda Collection of Kimono in its headquarters in Narumi (see photo above). The next two days, we all traveled the 30 minutes to Arimatsu by train, to tour this historic center for shibori production, attend 3-hour workshops, shop and dine. Arimatsu is home to shibori practitioners still in production, with approaches to shibori and clothing designs ranging from traditional to more contemporary. Many use indigo and other natural dyes; others use chemical dyes.
My first workshop was Kaki-shibu (Persimmon Tannin) shibori dyeing with Kaiichiro Okamoto, a master dyer who also packages the persimmon compound for sale. I wanted to explore its use for paper and fabric as a natural alternative to polymer medium. According to what we were told, persimmon is more of a coating than a dye, but in a dilute state, can be used to dye silk with a color that develops and deepens over three months and is darker depending on the number of dippings. We used it in a thickened state for shibori-tied washi paper, which was then dried and ironed. There is an ancient history of this in Japan. With 500 kinds of persimmons available, the ones that have the most tannins are used. In Japan, up to 60% of green persimmons are taken off the tree in a green state to preserve the remaining 40% as the best fruit. The paste is made from these green persimmons, which are crushed, then naturally fermented for 1-3 years. No heat is needed, and no water is added. The paste does smell strongly while fermenting; it was not so while using it in class.
Then it was time for a luscious looking bento box. The perforated vegetable is thinly sliced lotus.
Fantastic contemporary indigo-dyed shibori examples by the Yuusokai.
Below: even the grates have shibori patterns. Flower arrangement and shadow on tent of pop-up sale. Australian artist Barbara Rogers sells her clamp resist silk scarves at the pop up sale.
My second workshop was Itajime (clamped board resist) Shibori with Masatsugu Hamajima. This technique is one I was already familiar with, although the workshop taught me some additional tips and provided ideas for more elaborate clamp designs. It was interesting to learn that boards made from wood ended up superior to plexiglass, as they can float in the dye bath when dipping the bundled packet. Plexiglass tends to make the bundles sink, not allowing for multiple dippings. It was enlightening to see more complex wooden clamps that were also described in our later plenary presentations. It was also interesting to learn that this family had supplied dyed indigo shibori to Africa after World War II, a project developed under the Marshall Plan, designed to assist the Japanese economies ravaged by war. In addition to the War, shibori villages had also been affected by changes in the feudal system, which had created more infusion of funds into local villages than what came later. In Arimatsu, dyers had developed shortcuts and technological improvements to make the process faster and more consistent. And contemporary approaches to shibori textural alterations also made use of the physical transformations of the cloth, creating expandable garments, bags and other items.
Artist Amy Nyugen (right) and husband and business partner Ky, and Kim Eichler-Messmer all explore the foundational roots of shibori as they relate to their own work.
Below: the train is always an experience, but they are clean, punctual and well run. Plus, images of Nagoya Castle, which has recently been restored. The large white tower will come next; it was once restored in concrete and will now feature original materials.
