Location: Barony of Coeur d’Ennui, Calontir
Category/Level: Historically Focused/Advanced
About Agnes: I’ve been in the SCA for more than a decade. I regularly hand sew almost all of the clothes my husband and I wear (I’m pretty sure my sewing machine is out to get me). I have made a number of Japanese outfits for both my husband and myself before. I will be dyeing most if not all of the fabric that will be used for this project and this will be the first time I have done this for a whole Japanese outfit. I have done single layers of Japanese items before and I have done the dyeing of all items for a Viking outfit before. I am actually making this as part of a pair of outfits but I am only entering the one outfit into the challenge. I will also be learning kumihimo for this project as it will be needed for the bag I plan to make. Some of the basic construction of kosode will be very easy for me as I have done it a number of times the challenge level will be in getting the dyeing, including shibori, done within the timeframe and learning a new skill, kumihimo. I do plan to start learning kumihimo before the official start date.
Her Project: The outfit will be for a Japanese woman, the style is seen in art ranging from the Kamakura era through the Muromachi and Momoyama periods (1185 – 1600). The primary imagery used will be Momoyama (1568 – 1600). There are several kosode (the period version of the kimono) layers as well as a final kosode that is worn over the head when walking out of the house. I will also be making a bag used for carrying things that can be seen in the art of the period. The most influential period image is from the folding screen found on this website
Her final thoughts on the Challenge:
In Japanese clothing it is a period thing to use other art forms such as poetry. The day we were dyeing the plain fabrics I noticed how much the fabrics looked the same color as the leaves on the trees. A week or so later while the leaves were still on the trees we had a snowfall with large snowflakes. This inspired me to scrap my plans for the top layer and instead create the design using snowflakes. The outfit is titled “Snowfall on Autumn Leaves”.
This is a Japanese ‘underwear’ layer, or Jubon, for my 16th century Japanese lady’s outfit. I had originally planned to make this layer out of ramie as ramie and hemp are the known cellulose fibers for Japan in the period. Unfortunately my fabric still hasn’t arrived so I opted to use linen as a reasonable substitute. The linen I ended up using may be a little thicker but since there are only 3 layers for the official entry I wanted to be sure the collar would be stiff enough.
The design as far as I know is more assumption than based on any extent pieces from period nor any actual art. This is however the common design used by the re-enactment community.
The garment is shorter than the overgarments will be. The sleeves are straight instead of shaped like the overgarments will be. The only thing intending to be seen is the collar. In period the garment might not have been visible at all but due to the nature of this project the collar will be visible. I created the collar so it is actually 4 layers thick to be sure it will be nice and sturdy.
The obi is a necessary part of the garment, it holds the collar in place. I actually forgot to plan for this obi somehow so it is very much rushed. It is 4 layers thick folded in half then folded in half again so the raw edge was on the inside. I just whip stitched the edge since it isn’t going to be visible.
All sewing is done by hand with linen thread. Seams I doubled the thread. They are stitched with a running stitch with the occasional back stitch to keep the stitching from possibly gathering up on accident. I used single threads for finishing the French seams and on the hems and collar attachment. French seams are almost certainly not a period seam treatment as period garments were made from fabrics that were the width of the body panels so nearly all the seams in the garment would be the finished edge of the fabric. Since I’m working with linen only the side seams were the finished edges of the fabric. Even if I had the ramie I would likely still need to do the seam finishing as modern fabrics are not made in the widths of period fabrics (approximately 18 inch widths).
Screen reader support enabled.
This kosode is the main garment layer of this outfit. Kosode is the period term for what we might modernly call a kimono, the cut is different than that of a modern kimono. A more formal look would include a second kosode layer between the skin layer and this layer but that is not part of the official plan for this project.
This style of clothing would be seen on any person of wealth or samurai class in 16ht century Japan. The cut and style would differ just a little between men and women, the main difference being the men would of this status would wear hakama (pants) but women did not. This is not however court wear, it is the style of clothing that would be worn to go out to the city or perhaps even to visit a shrine or temple or enjoy a theater performance.
The use of panels of different colors/fabrics is seen in several extent period pieces. It is called Dan-gawari. I decided to try that particular style with this challenge as a way to challenge myself while still working with what is really a rather basic garment.
The silk broadcloth used in this garment is hand dyed by myself. The yellow is mordanted with symplacose which is a bio-accumlator alum mordant. I started using this morant years ago for Japanese dyes as the natural alum used in traditional Japanese dyes is also a bio-accumulator. I have recently learned however that symplacose is known to be native to Japan so it is possible this may have also been used in the period. I did a secondary mordant with pomegranate. I am not certain about the availability of pomegranate in 16th century Japan however yellow tannins like pomegranate would have been available. Finally the dye used is cork bark which is a known dye from the period.
The orange/red is also started with symplacose. Then cutch as the secondary mordant which also doesn’t have documentation of being available in Japan in the period however its distribution in Asia means it might have been available as an imported dye stuff. However, even if cutch was not available in the period in Japan other brown tannins would have been available. Finally the main dye is madder specifically rubia cordifolia, or Indian Madder. This particular species of madder there is documentation for it being available in Japan prior to the 16th century. I have not yet had a chance to dye with Japanese Madder yet so I do not know how different the 2 dyes may be. It is worth noting that rubia cordifolia is used to make akane red, a traditional vibrant red.
Finally the green of the obi is started with symplacose, followed by copper, followed by cork bark, followed by indigo. The obi is actually made from extra fabric available from what will be the inner kosode between the skin layer and this layer eventually but probably will not actually be part of this competition.
All of my fabric is dyed using a modified version of ‘the log’ method taught to me by Mistress Willoc Mac Muiredaig at Gulf Wars several years ago. The main modification is that I use a pvc pipe to allow easier manipulation of the fabric with fewer people. This method of dyeing actually is very similar to methods used by modern artisanal dyers in Japan. The method uses a moderately large dye vat, however not as large as would be needed if you were going to try dyeing the same amount of fabric purely by immersion and stirring. A pole is set horizontally over the vat by a variety of methods, my set up was constructed by my apprentice brother. The fabric is then manipulated over the pole (aka log) and into the vat, then back out, and back in repeatedly. When I learned this method at Gulf Wars there were at least 6 of us involved including the teacher and we were using 5 yard pieces max. Often I am limited to just one or two assistants to help me with my dyeing. Due to this limitation I have actually adopted my modification of using the pvc pipe over the ‘log’. This allows the fabric to more easily roll over the ‘log’ without needing another set of hands to keep the fabric from tangling on the log. It is likely that in period that similar methods would be used as well.
The construction of the kosode involved a number of steps. First I use the pulled thread method of cutting all the pieces to ensure straight edges to work with. Second each panel I finished the edges on using a rolled or hidden hem before attaching them together and constructing the garment. This particular step serves a dual purpose. The first is just simplicity of not having to worry about the fabric unraveling while I work with it. Second to a degree it helps with accuracy as the width of the body panels is actually the width of period fabrics so those edges wouldn’t have been raw in period and would not have needed any seam finishing once the garment was constructed. I used silk thread I dyed at the same time as the fabrics for any visible stitching. For construction I used linen thread I have on hand, likely if a cellulose fiber was used in period it would have been either hemp or ramie. The construction stitches are actually just a running stitch, this is the traditional way of modern kimono construction and is to the best of our knowledge what was done in period. I do add the occasional back stitch for extra stability while I sew and to keep me from accidentally pleating up my stitching.
The pattern of the kosode is fairly simple and standard. The basics for construction I always refer to this website, http://www.wodefordhall.com/page4.html, there are however many other places that provide similar instructions. There are 2 different styles of kosode in period. One where the sleeves are of equal or almost equal width as the body panels, similar to the pattern provided on the website. The more common style seen in extent pieces however have a sleeve width that is approximately half of the width of the body panels. That is the style used in this garment. Years ago I did research on the proportions of sleeve width to body panels and sleeve length to body panels and created calculations for how to cut out my garments based on the full width at the shoulder and the length from shoulder to hem. I used those calculations in the design of this pattern. I did however end up with sleeves that don’t come down quite as far on my arms as I had planned but it is probably only an inch or two short so it isn’t too bad. The obi is also stitched with a running stitch as a tube inside out, I did use the matching thread for this stitching even though I was hoping it would be invisible. Obi in period are very slender and not nearly as extravagant as modern obi. I am personally of the opinion that they probably were often made from pieces left over after construction of kosode.
I am actually hoping to add embroidery to this layer in the future but there was no time to try to learn how to do period Japanese embroidery within the constraints of this project. I really appreciated that the colors of the fabric almost matched the color of the trees in the area the days we were dyeing. It’s a wonderful fall feel and lends itself towards the period approach to clothing ‘telling a story’. The embroidery will help tell the story of the fall at the time of the project.
Top kosode layer that can be worn over the head or like an uchikake unbelted by a samurai class woman. It should likely be lined however I overheat easily so prefer to not line unless it is absolutely necessary.
The kosode is decorated using shibori dyeing techniques. To create this style of decoration the garment must be basted together then the design is drawn on by hand. Then the garment is taken apart and the designs are stitched using a running stitch. When the stitching is complete I always wash the fabric to prepare it for dyeing. Finally to keep the dye from the white sections they must be blocked from the dye. The running stitches are pulled tight and the sections are plugged with plastic wrapped corks and the section to remain white is covered in plastic wrap. This is of course not period but the actual art form as it was known in period was lost to history and the few ideas for how it was done in period are not currently achievable by myself. Instead I use methods similar to those used by traditional artisans in Japan modernly.
Finally after the dyeing is completed the garment must be carefully reconstructed to get the designs matched up as they were originally laid out. I always mark the garment with identification stitches in various places throughout the garment to help make this an easier step.
A small bag. This bag was based almost exclusively on the artwork in the period. I was able to find one extent piece however the image available from the museum is of the bag closed and it is very difficult to determine how it is constructed.
The final bag is made from pieces left over from layer 2, sewn together then cut into the pattern used for making the mockup bag. I did change the pattern a little for the final bag from the mockup and I think I am a little disappointed with the final shape.
The cord for the drawstring and the body of the bag are made using modern kumihimo techniques. This was a skill I learned specifically for this challenge. The drawstring cord is my second ever round braid and the flat braid is my first ever flat braid. The flat braid does appear to be necessary to get the bag to properly maintain its shape. I’m not totally happy with the final placement of the braids but it functions. It should be noted that kumihimo is not a period braiding technique however those who are well versed in the period art form have been known to accept kumihimo as a very close method that gives essentially the same look. I dyed all the yarn for the kumihimo myself but much of it was dyed prior to the start of the competition so they dye on the yarn should not be considered as part of the competition.