November 21, 2014

着物サローネ 百人、百色 1

Best men's


auberginefleur at 05:00|PermalinkComments(0)着物のつれづれ 

着物サローネ 百人、百色 2

Most unique ensemble


auberginefleur at 04:13|PermalinkComments(0)着物のつれづれ 

着物サローネ 百人、百色 3

Most interesting fabric


auberginefleur at 04:10|PermalinkComments(0)着物のつれづれ 

November 15, 2014

着物サローネ 百人、百色 4

Also like !
Check out the obiage. (cats!)


auberginefleur at 08:41|PermalinkComments(0)着物のつれづれ 

着物サローネ 百人、百色 5

My favorite!


auberginefleur at 08:39|PermalinkComments(0)着物のつれづれ 

着物サローネ 百人、百色 6

Most like I would wear.


auberginefleur at 08:36|PermalinkComments(0)着物のつれづれ 

着物サローネ 百人、百色

AF's Display!


Purple "man-tsuji" stripe komon awase kimono
Abstract rose motif Nagoya obi -- Ginza-musubi bow
William Morse design rose motif scarf as obi-age sash
Beads bracelet as obi-dome brooch obi accessory


auberginefleur at 08:34|PermalinkComments(0)着物のつれづれ 

November 14, 2014

「着物のつれづれ」 (日本語版)は

こちらーー> 着物のつれづれ 

AubergineFleur Kimono Salone 2014

auberginefleur at 11:23|PermalinkComments(0)着物のつれづれ 

October 31, 2014

Happy Halloween

auberginefleur at 05:58|PermalinkComments(0)Kimono Winter (Awase) | Kimono: My Collection Etc.

October 24, 2014

Essays by AF on Yukata

Speaking of kimono books, several people have asked me if I have published anything on kimono, and the answer is I have published two essays on yukata both of which are parts from two different chapters of the book on yukata I have been working on in my spare time for several years now. The reason I published these two sections of the book is partly because of the publish-or-perish scenario in academia, and also because I wanted an example for the publishers of how I envision the book and how I would like the layout of the book. The second essay is a better example of what I wish for the layout with small box insets explaining the terms, with the Sino-Japanese characters and pronunciation included, for ease of reading along, instead of a glossary at the end.

The first essay, “Naga-ita Chūgata Aizome Dyeing Technique,” is part of the chapter on the dye techniques used for yukata; this essay based on an interview and observation of Noguchi-san who is the master of a workshop that has been dyeing fabrics using this method since the late Edo – early Meiji period. If you read the essay, you will find that the Noguchi Some-Kōjō workshop began from dyeing the minute stencil designs, now called Edo-Komon, used for the kamishimo garments of the military class. There are several other techniques also used for dyeing yukata, and I plan to include in the book similarly detailed descriptions of at least three other common techniques still used today, including Arimatsu shibori.

The second essay I published, “The History of Yukata Fashion: Part I Edo Period,” forms part of the first chapter of the book on yukata and gives a brief explanation of the development of yukata in the Edo period. The second half of this chapter, not yet published, will bring the history of the yukata into the 21st century.

*I should probably also mention that the term “hemp” in both articles is a translation of the Japanese term asa 麻, which includes a number of different but somewhat related bast fibers, but now I kind of wish I had used “ramie” as a translation instead.

Both essays are available online, if you wish to download and read them.

2010, The Naga-ita Chugata Aizome Dyeing Techinque, 跡見学園女子大学文学部紀要 (Journal of Atomi University Faculty of Literature)Vol.45(2010.9)、p. 1-9.

2014, 浴衣の着こなし史1 : 江戸時代 The History of Yukata Fashion: Part I Edo Period, 跡見学園女子大学文学部紀要 (Journal of Atomi University Faculty of Literature). Vol.49 (2014. 3)、p.101- 112.

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auberginefleur at 15:25|PermalinkComments(0)Kimono: Terms & Info 

September 30, 2014

AF’s Kimono Calendar SEPTEMBER 2014

By now any poor soul who follows my blog has realized, my coordination for September was all about the Textile Symposium in LA. I had one tiny carry one on, and that was it, to fit all my kimono and kimono accessories in. So, I had to limit myself to 3 kimono and 3 obi, which turned out just fine for 6 days. In fact I had possible ensembles left over. I thought I might continue to wear the left-over ensembles (poor things) after I returned to Indy, but only ended up doing one more ensemble one the 25th. I could still have worn the Blue Nagoya Obi with the Grey Kurume Kimono, and the Hakata Hanhaba Obi with the two tsumugi kimono, plus the Hakata Hanhaba Obi is reversible, so all told I still had 5 possible ensembles left! However, the final 5 ensembles weren’t as pleasing as the others, so I just moved on.

When I left, LA was in a heat wave, but Indy when I arrived was in full-blast autumn with surprisingly low temperatures. Here I was betwixt late summer (in LA, I wished I had brought summer kimono) and already fall in Indy. Hence, why I wore the mustard hanahaba obi with the grey kurume kimono, trying to use color to create a more fall ensemble. I was about to put the cotton-ramie Dots (dubbed by FB friends the Dalmatian) away for the year, but decided to wear it one last time first. (I actually even wore it one more time after that, as you will see when I post Oct’s calendar).

With the purple strip Hanhaba obi on the indigo katsuo-stripe kimono, I was practicing a musubi Mr. K-san had put on FB, that supposedly was the musubi the geisha of Edo wore when invited on a Yakatabune pleasure boat in summer, called appropriately enough the Yakatabune-Musubi.

The 3 Kimono:
1) Kurume-Gasuri Cotton Hitoe Kimono
久留米絣 単衣
2) Beige and Blue Plaid Silk Tsumugi Hitoe
3) Tōkamachi Silk Tsumugi Hitoe Kimono with floral motif (cute dots in shibori)
十日町紬 正絹 とおかまちつむぎ 白地に描象的な花柄 時代物

The 3 Obi:
1) Hakata Hanhaba obi, white and purple reversible
多織 献上柄 半幅帯 小袋帯
2) Kimono Blue Nagoya Obi, floral motif (probably kikyō flowers, and probably shioze fabric)
3) Ebi-cha (Maroon) Nagoya Obi with cute butterflies

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auberginefleur at 23:42|PermalinkComments(0)Kimono Autumn (Hitoe) | Kimono: My Collection Etc.

September 21, 2014

AF's Coordination for Textile Symposium 2014

What I Really Wore... actually pretty close (see first thoughts here)

* Some the images were taken in a mirror. Don’t worry, I am wearing my kimono properly left-over-right.

Kurume-Gasuri Cotton Hitoe Kimono

久留米絣 単衣
Hakata Hanhaba obi, white and purple reversible
博多織 献上柄 半幅帯 小袋帯
Obiage, crimson and silver
Obijime, burgundy-purple narrow belt

All I had to do this day was get myself on the airplane, shuttle to UCLA, and check in. So, I wore my most comfy kimono, plus being cotton I thought it was sturdy enough not to stretch at the derriere while seated on the plane for hours, and I was right. With luggage and stuff, I didn’t want to use one of my fancier obijime-obidome sets, in case they might get damaged, and I thought the crimson-silver obiage just worked best with the ensemble. I forgot to take my cellphone out of my obi before going through the x-ray machine, which caused a search of my obi, but the lady was very kind about it, as I pulled everything out of my obi, including my obi-ita board.

WED The 10TH
Beige and Blue Plaid Silk Tsumugi Hitoe Kimono
Blue Nagoya Obi, floral motif (probably kikyō flowers, and probably shioze fabric)
Obiage, crimson and silver (with the crimson portion showing)
Obijime, crimson-maroon narrow obijime cord
Obidome, white with crimson flower (here worn showing the back flower petal)

This day I went to the pre-symposium workshop on early dyebooks at the Getty research Institute. I saved what I considered by best outfit for the following day, which was the opening of the symposium. It was quite hot outdoors in this kimono, but luckily we were inside most of the time. After the symposium I went out the friends for drinks, where it was too noisy to talk, but we had great conversations walking there and back from the UCLA campus.

THU The 11TH
Tōkamachi Silk Tsumugi Hitoe Kimono with floral motif (cute dots in shibori)

十日町紬 正絹 とおかまちつむぎ 白地に描象的な花柄 時代物
Ebi-cha (Maroon) Nagoya Obi with cute butterflies
Obiage, 1st white with maroon shibori dots, 2nd purple and maroon clamp resist silk textile
Obijime, reversible purple and white

This I thought was the nicest ensemble of the bunch I brought and saved it for the first day of the symposium and the opening event in the evening. This ensemble did get the most comments, and many people of various nationalities asked to take pictures with me. I started out with a white obiage with crimson dots in shibori, but found this gorgeous silk scarf at the vendors there. It’s from Bhuj in Gujurat NW India and is clamp-resist dyed in purple and maroon. It was not cheap, but it just called to me; I couldn’t resist! Although this kimono is much cooler than the beige plaid I wore the day before, with heat and worry about spilling something on this rather nice kimono, I decided to do easy and casual and cooler the next day!

FRI The 12TH
Kurume-Gasuri Cotton Hitoe Kimono

久留米絣 単衣
Hakata Hanhaba obi, white and purple reversible
博多織 献上柄 半幅帯 小袋帯
Obiage, purple and maroon clamp resist silk textile
Obijime, reversible purple and white

I met a friend for a very early breakfast, and never did get a chance, or remember, to take a picture of myself. Good thing I decided to go casual and easy, since I had to get up early in the morning! The more I wore this Kurume-gasuri kimono, the more I became enamored of it all over again. Coupled with the Hakata hanhaba, obi—this time worn with the purple side out—it was cooler, lighter, less worrisome, and just way more comfortable.

SAT The 13TH
Tōkamachi Silk Tsumugi Hitoe Kimono with floral motif (cute dots in shibori)

十日町紬 正絹 とおかまちつむぎ 白地に描象的な花柄 時代物
Blue Nagoya Obi, floral motif (probably kikyō flowers, and probably shioze fabric)
Obiage, white with maroon shibori dots
Obijime, crimson-maroon narrow obijime cord
Obidome, white with crimson flower

Today was the day we went to LACMA, and of course I was beside myself with excitement about seeing the Meisen kimono exhibition there. Part of my theme for this whole trip was to do a number of ensembles in a retro Taishō-esque style in honor of this exhibition. Plus, I thought there would be a number a people at this symposium who really knew about kimono (actually as it turns out, there were very few), so I wanted to dress well and appropriately, yet in somewhat comfortable and every-day wear kimono. It being mid-September already I did not feel comfortable about wearing summer kimono in such a crowd, but it was SO HOT, I really regretted not bringing another summer kimono instead of the beige plaid silk hitoe. The exhibition, btw, was fantastic, but it is a shame they did not do a catalogue.

SUN The 14TH
Kurume-Gasuri Cotton Hitoe Kimono

久留米絣 単衣
Hakata Hanhaba obi, white and purple reversible (purple side out again)
博多織 献上柄 半幅帯 小袋帯
Obiage, purple and maroon clamp resist silk textile
Obijime, burgundy-purple narrow belt

It was time to go home. The symposium was fantastic, and I made some wonderful new friends, but I was pooped. I has signed up to go to a post-symposium, tour, but the time was changed to meet even earlier, and with exhaustion and the need to pack, I just cancelled it and spent a relaxing day around campus and re-visiting the Textiles of Timor exhibition at the Fowler Museum. Once again, I wore my comfy Kurume-gasuri hitoe for the travel back to Indy.

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auberginefleur at 06:01|PermalinkComments(0)Kimono Autumn (Hitoe) | Kimono: My Collection Etc.

Orchestra Plays to Feline Pianist

auberginefleur at 02:54|PermalinkComments(0)Tsurezure Misc Notes 

September 09, 2014

AF's Coordination Conundrums for Textile Symposium 2014

The photo BELOW shows my first thoughts on what to bring to wear for the Textile Society of America Symposium 2014; ABOVE shows my most recent thoughts. Now it remains to be seen what I actually pack and wear? Any thoughts? Comments? (comments here)

Textile Society of America Symposium 2014

(AF’s of Special Interest picks)


9/11 (THU) Sessions
2D. Alternative Plant Fibers: Preservation, Development, Sustainability
Chair: Yuko Fukatsu
Location: South Bay Room
1. Lesli Robertson: Ugandan Bark Cloth: A Model for Evolution and Innovation
2. Soraya Serra-Collazo: Maguey Hammocks: A Weaving of Resistance in Puerto Rico
3. Yuko Fukatsu: Traditional Textile Design for Social Innovation toward Sustainability in Japan
4. Tatsuhiko Murai: Changing of Kudzu Textiles in the Japanese Culture

3A. Explorations into Natural Dyes
Organizer and Chair: Dominique Cardon*
Location: Grand Horizon Salon A
1. Eduardo Portillo and Maria Eugenia Davila: Natural Dyes and Aesthetic Search
2. NgocAnh Luu Dam: Reviving Indigenous Knowledge of Indigo Dyeing in Minority Communities of Vietnam
3. Marine Nora Toussirot: Research into Natural Dyes from the Plant Biodiversity of New Caledonia and the Kanak Cultural Heritage
4. Katherine Hattori: From the Ground Up: New Ideas for Natural Dyes in the Fashion Industry
5. Dominique Cardon: “Extreme” Dyeing with Natural Dyes

4B. Māori cloaks
location: Fowler Museum, Deutsch Seminar Room
Tharron Bloomfield: Māori Cloaks, Māori Voices: Examining Objects from the Past and Creating Relationships for the Future
Suzanne MacAulay: Chronology, Mythology, Invention: John Bevan Ford’s Maori Cloak Images

9/12 (FRI) Sessions
5E. Histories of Textile Arts—and How to Teach Them
Organizer and Chair: Birgitt Borkopp-Restle*
Location: West Coast Room
1. Cecilia Aneer: Technical Skill in a Theoretical Perspective – Teaching Textile History at Uppsala University, Sweden
2. Ariane Koller: A Department for the History of Textile Arts at the University of Bern
3. Pascale Gorguet Ballesteros: A New Program for the History of Dress, Fashion and Textiles at the University of Paris IV – Sorbonne
4. Sumru Krody: A New Unit for Study and Research: The Textile Museum and George Washington University in Washington, D.C.
5. Feng Zhao: Teaching Silk History in China

6B. Textiles in China: Identity, Literacy and Communication
Chair: Lee Talbot
Location: Grand Horizon Salon B
1. Mei Rado: Imitation and Invention: Weaving “European-Style” Silks under Qing Imperial Patronage
2. Rachel Silberstein: Words and Symbols: A Preliminary Study of Literate Communication in Chinese Embroidery
3. Gloria Gonick: Innovation and Preservation of Manichaean Textiles in Southern Coastal China in the Seventeenth to Twentieth Centuries
4. I-Fen Huang: Embroidering for the Nation: Embroidered Portraits and the Invention of an Artistic Tradition in Modern China

7D. Facing Challenges: Global Development
Chair: Michele Hardy
Location: South Bay Room
1. Deborah Carlson: The Crafted Textile and Social Change
2. Toshiyuki Sano and Yuko Matsumoto: Changes in the Way of Traditional Cloth Makings and the Weaver’s Contribution in the Ryukyus
3. Shannon Ludington: Painted Clouds: Uzbek Ikats as a Case Study for Ethnic Textiles Surviving and Thriving Culturally and Economically in the 21st Century
4. Louise Hamby: New Directions in Australian Aboriginal Fabric Printing

8E. Panel Discussion: Saving the Day: Groundbreaking Design and Textiles for Science Fiction and Fantasy Film
Organizer and Moderator: Deborah Landis*
Location: West Coast Room

9/13 (SAT) Textiles in Museums, Chaired by Sharon Takeda, head of Department of Costume and Textiles, LACMA

New Directions: New Ways of Thinking, Chaired by Matilda McQuaid, Curator, Cooper Hewitt National Design Museum, Smithsonian Institution

LACMA 「KIMONO FOR A MODERN AGE」Exhibition, July 5, 2014 – October 19, 2014 (pdf file here)

Exhibition reviews:
*These Gorgeous Vintage Kimonos Will Change The Way You Think Of The Japanese Garment
*WSJ: The Japanese Wear Art and History
*LACMA Press Release


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auberginefleur at 00:45|PermalinkComments(0)Kimono: My Collection Etc. | Kimono Autumn (Hitoe)

September 08, 2014

AF’s Kimono Calendar AUGUST 2014

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Blog Mura Kitsuke

auberginefleur at 05:51|PermalinkComments(0)Kimono: My Collection Etc. | Yukata & Kimono (Usumono)