Good Japanese Vintage Fabric for Boro Cover

Good Japanese Vintage Fabric for Boro

The word “Boro (襤褸)” is a Japanese word for a piece of rag. However, the word itself may be more famous outside of Japan with various forms of interpretation. It is quite challenging to define what Boro is (because we as Japanese do not define the Boro as a form of culture yet), so please understand what I write here is not something judgemental to someone. Here, more importantly, I share what is Good Japanese Vintage Fabric for Boro making project. Following the information about Good Japanese Vintage Fabric for Boro, I will share some of my understanding of Boro.



Good Japanese Vintage Fabric for Boro

When we make a “To be Boro” fabric, we try to synchronize our stitches to the stitches done by the Japanese in hundreds of years ago. Boro is a result of repetitive Sashiko stitching out of necessity. For the purpose of survival, they used the fabric in their reaches (recycled and upcycled what they had).

In today’s society, we have a choice of which fabric we would use for the mending project. In a heart of Boro concept, it is true that we can use any kind of fabric to make “a piece of fabric looks like Boro (Boro Inspired Art)”. However, stop thinking about “what to use” by simply understanding one perspective of “freedom of Boro” is a bit superficial to understand the deep culture of Boro fabric we can see in the museum.

Therefore, for us as Sashiko artisans, the most important challenge we keep in our mind is to synchronize (revive) what the Japanese did many years ago. Above said, this is a checklist when we look for the fabric to make the Boro – the one as authentic as possible.

  1. Raw material
  2. Color
  3. Durability
  4. Stories (when applicable)


Following is the more detail in each category when we look for the good vintage fabric. The biggest difference between us and the other antique dealers with very beautiful Boro pieces would be the purpose of the fabric: Our purpose is to use the fabric in our Sashiko stitching. Some of the Boro from the pasts are too fragile to be used again. Therefore, some of them are durable only behind the glasses in the museum. We sometimes encounter very beautiful Boro pieces from the past (which is now quite expensive). However, we do not purchase the vintage fabric if it doesn’t satisfy the criteria below.


(1) Raw Material

We strongly prefer cotton fabric. Occasionally, we encounter the vintage silk cotton. Linen (hemp) fabric can be used, but not the first choice. We always avoid the synthetic [chemical] fiber because they age differently. Although there is a lot of beautiful and colorful Kimono, which many uses for remaking projects, it isn’t ideal for the Boro-reviving project.

(2) Color

Color is a great category to be creative. However, because of availability in cotton fabric in hundreds of years ago in Japan, dark shade fabric such as Indigo or Gray, would be the popular choice. If the fabric is less than 100 years old, let’s say the fabric around the WW2 or after the Meiji Restoration (the time Japan opened up its nation to the international trade – the end of national isolation), the fabric may be artificial dye. There is nothing wrong with using artificial dye fabric. However, to balance the aging speed of fabric, we prefer the Natural Dye such as Hon-Aizome (本藍染 = Authentic Japanese Indigo Dye), Dorozome(泥染め = mud Dye), and various Botanical Dye Fabric. In this era, the various dye technique was very popular, such as Katazome (型染め)and Tsutsugaki Zome (筒描き染め). It requires another article to explain the variety of colors and dye technique (and we aren’t well-knowledged enough to describe). The choice of color makes the journey more enjoyable and exciting. Our favorite part of this journey is to find the “good aged color (the color only the flow of time can make)” and dyeing our thread naturally to match the fabric.

(3) Durability

As I described above, the fabric has to be clean so that (1) we can stitch (2) the person who uses in their days. Most of the vintage fabrics from the storage area are dusty, dirty, and stinky. Therefore, the fabric has to be strong enough to be washed. We wash by hand very carefully but very thoroughly. It is the last thing we would like to do is keep stitching for hours of times with strong smell from the fabric.

If you have purchased a piece of vintage fabric with no smell, then it is because the antique dealer is very knowledgeable and attentive to wash the fabric before shipping.

We sometimes find very beautiful and artistic vintage fabric. However, when we understand that the fabric is not strong enough to be washed, we will pass it to someone who values the fabric as the art in the frame. Washing the fragile vintage fabric will end up with losing the beauty.

(Well… we make numbers of mistake. We once purchased a beautiful rain-jacket, estimating the time from before the Meiji Restoration. It was quite a big investment for us to purchase the Jacket. The jacket was, of course, dusty and stinky. We hand-washed carefully and end up losing more than 50% of the weight. It means, all the frayed thread, dust, and the particles went into the drain… We enjoy the beautiful leftover of the vintage fabric, but it is the necessary process of preparing the Good Japanese Vintage Fabric for Boro.)

(4) Stories

The 4th category is very much our personal preference. It is very fortunate to have the vintage fabric with stories attached. I believe every single vintage fabric has its own stories. However, at most cases, we only can guess the stories because the story existed in many years. Therefore, when we obtain the fabric with stories attached, we enjoy and try to synchronize our stitches to the stories with sincere respect.


Vintage Fabric as limited resource

In order to have the unique color and texture of the Vintage Fabric, the fabric has to age naturally over time. On top of that, it is quite difficult to find the same “fabric manufacture (weaving artisans)” that can make a similar fabric as the Japanese did so many years ago. Therefore, the vintage fabric is a limited resource.

It was a piece of trash when the world didn’t know the value of vintage fabric. After all, it is the used dirty fabric. In these days, because of the trend in Sashiko as well as the value as the investment commodity, the prices of vintage fabric is raising (like crazy). Some of the vintage fabric can be quite expensive because it requires not only a good taste to find the fabric but also a careful and attentive preparation. Washing and cleaning the vintage fabric can be a risky process. Please leave the comment here if you would like to purchase vintage fabric from us – the same one we use for our Sashiko and Boro making. We only provide those in-person (face to face), but we will see what we can do over the Internet.



Fabric to be Boro

The word “Boro” means a piece of dirty rag. Therefore, as you can imagine, it is dirty and very smelly (not in a good way). Some of the “Boro Art” will be destroyed by being washed, and therefore, they are displayed as the Art. Those are not the Boro we try to “revive”. The Boro we are creating is the Boro we can use in our daily life.

It has to be strong enough to be washed. Of course, it is severely damaged fabric. The friction from daily life will damage the fabric even more. It may alter the look. However, those damages are “welcomed” because that is how the Boro were made. Once we try to make the “Authentic Boro”, it required the process of using it heavily, and therefore, it requires a skill of stitching – which is called Sashiko as a form of the stitching process. Therefore, on top of sharing the culture of Sashiko and Boro, we decided to share the technique of Sashiko stitching in the in-person workshop as well as Online.


This is an On-Going Boro Jacket that Atsushi has been working with. We wear it, and when in need of mending, we perform it. We believe the repetition of the mending and stitching will make the authentic Boro.

Does it have to be Japanese Vintage Fabric

By reading so far, you may think it is too much amount of thinking to enjoy Boro. The question would be “Does it have to be the Japanese Vintage Fabric“? The answer is quite simple: No, it doesn’t have to be the Japanese vintage fabric to enjoy it.

However, as the Japanese who practice Sashiko, we would like to focus on the Japanese Vintage Fabric. We have tried to use Non-Vintage Fabric, such as the fabric the traditional weaving mill manufactures today. Although they look very beautiful as the patchwork, the problem was the difference in the speed of aging. The non-vintage fabric was too strong to be naturally damaged.

We could try to use vintage fabric from another culture. It could be a good “art” pieces with respected adventure. However, it doesn’t feel natural to us at this point. It is like a process of making Sushi without using the Japanese short-grain sticky rice. It is doable, but feel pretty strange.


Above said, I am just sharing our benchmark in choosing the Good Japanese Vintage Fabric for Boro. It is your choice to use any fabric you prefer in your Boro (or Boro inspired) project.

At the same time, I want you to know that the project of “reviving (to be) the Authentic Boro” is more than just mending or patchworking whatever the fabric we have to recycle. It is more than “recycling”.

Boro is a result of repetitive stitching in necessity – to survive through the severe winter. However, I believe, the Japanese who made the Boro wanted to be more beautiful and wealthy. Description of Boro with the simple terms of “recycling the fabric” is too shallow for me to advocate. It is more than that. They probably wanted to get the better fabric instead of recycling the fabric. We can only guess because there is no official documents left. However, the creation (either it is Authentic Boro, Boro inspired patchwork or simple Mending) can be more beautiful and sincere when we try to be mindful of what we do. It is the whole concept (and my message) as synchronizing our stitching to the Japanese who made the Boro in hundreds of years ago.


I have been sharing my perspective of Boro in this website. I will explain the Boro terminology and other perspectives below following to the main topic of “Good Japanese Vintage Fabric for Boro”.


Boro (襤褸) Terminology

It is quite challenging to define what Boro is. So, please let me share some of the terminologies of Boro to explain the bigger picture of Boro instead of defining Boro as a piece of rag.

In my understanding, the word Boro (ぼろ)is from an onomatopoeia of BoroBoro (ぼろぼろ). Although I used the word “onomatopoeia”, it is not a sound of tearing the fabric. The word describes the process (movement, state, or condition) of fabric getting damaged over the usages. When we keep using a piece of towel to clean many places, after some times, it starts tearing (possibly with holes). The state of being torn and damaged is described with the word “BoroBoro(ぼろぼろ)” and it became a noun to describe the Boro we know.

Here is some definition of Boro from Japanese national (comprehensive ) dictionary (encyclopedia). If you find errors in my translation, please kindly let me know. English is still my second language.


  1. Cloth with damages (like tears) after heavily wearing
  2. Useless fabric/textile after heavy usage
  3. Fabric about to be torn. Thing about to be broken. Or something useless for the purpose.
  4. Horse excrement. (糞 = shit… well…)
  5. Hidden defect. Failure. collapse

Well. As you can tell, the word itself isn’t that positive or fancy word for the Japanese. We still have the negative images to the word.

① 着古して破れている衣服。ぼろぎもの。
※雑俳・口よせ草(1736)「うりてさへ時宜するぼろを買て行」
② 使い古して役だたない布。つづれ。ぼろきれ。
※万国新話(1868)〈柳河春三編〉一「布屑(ボロ)などを以て大なる人形を造り」
③ 破れているもの。こわれているもの。また、役に立たないもの。他の名詞の上に付けても用いる。
※真景累ケ淵(1869頃)〈三遊亭円朝〉三三「寝衣の単物にぼろ袷(あはせ)を重ね」
④ 糞。特に、馬糞。
※金貨(1909)〈森鴎外〉「馬の糞(ボロ)を捨てる箱があったので」
⑤ 隠されている欠点。また、失敗。破綻。→ぼろが出る・ぼろを出す。
[補注]物が破れているさまを表わす擬態語「ぼろぼろ」から出た語。

https://kotobank.jp/word/%E8%A5%A4%E8%A4%B8-631791

Can we really make Boro in today’s society?

When we talk about authenticity, we have to be careful of what levels of authenticity we would like to follow. It is true that we cannot make the really authentic Boro in today’s society. There will be a significant difference between the Boro in the museum and the Boro we make. It is because, in order to make the authentic Boro, the flow of time (hundreds of years) would be the necessary element.

However, we can try to follow (synchronize) the process by respecting the original. We cannot make a copy of the authentic Boro that we see in museums, but we can start a process of making the authentic Boro by caring and stitching with the vintage fabric which didn’t become authentic Boro. One of the Boro Jacket I introduced above with the photo is the challenge I am working on to make the authentic Boro.

I feel… it is too superficial to define Boro as a form of mending only. It is sad to mention the impossibility of reviving the Authentic Boro without challenges. We would like to try, and respect, the beauty, and wisdom in Sashiko and Boro – Sashiko as a process and Boro as the result.

It requires time. It is the art from the Japanese who sincerely lived (survived) in many years ago. It is our time to think about what we can leave to the human being a few hundred years from now.


Authentic Boro | No line yet characteristic

I keep using the word “Authentic Boro”. Well, again, there is no such thing as “authentic Boro” in the definition. We call the beautiful Boro in the museum as the authentic simply because it is beautiful and powerful (on top of the record that the Boros are discovered by Mr. Chuzaburo Tanaka, a researcher, and collector of authentic – old Sashiko and Boro items).

To make it easier to explain my understanding of “authentic look” in Boro, let me share some photos of what we made. Below, I use two Sashiko pieces to compare what is “Authentic Boro” to explain the difference. Both of them are created by Sashi.Co & Keiko Futatsuya (link to the Portfolio). Please understand that there is no clear line to define what is authentic Boro or not.

The significant difference is “the amount of time we use, and the numbers of times we Sashiko stitched” Again, both of them are made in today’s society (not from the vintage market). The difference is the aging process we let them have.

In short, with comparing these 2 photos, (A) and (B) are on the same timeline. It isn’t (A) or (B) – more like (B) then (A). For that, I would say, all of the Sashiko stitching we do can be categorized as the “Authentic Boro to be Fabric”. Every Boro pieces we sell online are usable in the daily life. It is up to the clients need. It is perfectly fine if they want to frame it as the art. At the same time, if they would like to use it and keep stitching by themselves, it is a good piece of “To be Authentic Boro fabric” because we sincerely respect the process of Japanese which made the authentic boro we can see now in the museum.


Other articles about Boro and Japanese Vintage Fabric for Boro

The article about the Boro in General
Another article about Boro – questioning is it really “at Random”?

Also, check the search result for “Boro” in our website. We have been adding many more articles to explain what “Boro” is for us. It became a long article. I hope I provided some clarification about the Boro and Sashiko.

Cultural Appropriation Cover

Cultural Appropriation in Sashiko

The recent discussion about Sashiko started on FB group following in Instagram & our FB group taught me a variety of views to look at things. In order to grasp this discussion, please read the articles of “Why Do you call it Sashiko” and “Mindful Reading“. These 2 articles would be good-to-read materials to understand who I am on top of what I do. Regardless, it was a necessary learning experience for me to keep this journey of sharing what Sashiko is. However, there was one assignment I took home with me to study: learning about Cultural Appropriation in Sashiko.


Japanese Cultural Appropriation

The word, Cultural Appropriation, was a too complicated concept for me to explain with the Sashiko we practice. Therefore, with knowing the recent discussion about the word “Kimono” and its cultural appropriation (My Kimono is not your couture), I couldn’t express my insights to the public. I wanted to make sure that I understand what I write before asking someone to read. A follower on Instagram introduced me the brilliant article, written by Ms. Maki – Japanese potter lives in Yorkshire. Her writing encouraged me to express how I feel about Cultural Appropriation in Sashiko.

Her powerful writing is must to read if you are interested in being creatively inspired by Japanese culture (or any other culture, for that matter). Please take a moment here to read through her writing, then please read how I feel about it. I sincerely respect her writing and appreciate her courage and time to share.


I encourage you to call it Sashiko

With my sincere respect to her writing, I encourage you to call your stitching Sashiko as long as you “try” to understand and respect the Japanese culture. I am not asking you to be a master of Japanese culture, nor practice the Japanese custom thoroughly. What I am asking is your attitude to understand who the Japanese are.

Do I sound like contradicting between what I write and what Maki wrote: “Naming DOES matter”? Please let me explain it here.


“Kimono” and “Sashiko” is a bit different

I came to the conclusion to not to consider “Calling your stitching Sashiko” as the Cultural Appropriation based on the 3 factors below.

  1. Sashiko may be too ordinary in the concept of Cultural Appropriation.
  2. Many Japanese also misuses the word of Sashiko.
  3. The word Sashiko is mainly used in the non-commercial situation.

(1) Is Sashiko Japanese culture?

Kimono is a Japanese clothing culture. When they try to research what the Kimono is, there are numbers of books and article to read. However, in Sashiko, there aren’t many documents published to understand Sashiko as the culture.

In fact, I am not sure if we can call Sashiko as the Japanese “culture” yet (therefore I keep asking to respect the Japanese culture in Sashiko – not Sashiko Culture). The ordinary Japanese practiced Sashiko in their ordinary life. The hand-stitching to repurpose the fabric was just too ordinary for the Japanese. We do not have enough documents and testimonies left to define Sashiko as the Japanese culture. However, I believe I can say that Sashiko has a lot of Japanese cultural characteristic – and without that, I wouldn’t want to call it Sashiko. (One of the characteristics of Sashiko and Japanese culture would be a concept of Animism in Sashiko.)

When we aren’t 100% sure to call Sashiko as the Japanese culture, it would be better to keep it as non-Cultural-Appropriation matter. Kimono is different. It is the defined clothing culture. When they disrespect the Japanese culture in Sashiko, then I would get offended. I don’t know how to call this anger or frustration yet – but probably not the Cultural Appropriation.


(2) Is Sashiko common for Japanese?

The second factor is that Sashiko isn’t so common for Japanese neither. Every single Japanese knows what the Kimono indicates. Not all the Japanese know what Sashiko looks like.

In fact, the Sashiko we practice now may be a bit different from the Sashiko the Japanese practiced a long time ago. The culture transform itself. It isn’t about good or bad. It just happens. However, there are many stories behinds each Sashiko or Sashiko related fabric. This website and our SNS accounts are for sharing those stories – like difference between hand-stitching Sashiko and woven Sashiko as well as the difference between Boro and Sashiko.

Since Sashiko isn’t so common in Japanese, it may be harsh to name someone’s stitching as the Cultural Appropriation.


(3) We enjoy Sashiko stitching with no intention.

The last factor I would like to mention is that many of us calling their stitching Sashiko do not intend to disgrace the Sashiko stitching. They enjoy Sashiko (or any form of hand-stitching) with no intention of the power of the word. I can say so because not many people use the word for the non-commercial setting.

I am aware that some companies/people use the word of Sashiko to sell their “Non-stitched” item. For that, I would get upset as the form of Cultural Appropriation (as Ms.Maki mentioned in her article). However, those who are interested in my messages are the people who simply enjoy Sashiko stitching for non-commercial purposes, so I would like to avoid scaring them to enjoy their Sashiko stitching.


The fear I experienced in the discussion

Yes. I encouraged you to call it Sashiko. However, I still have the fear I explained previously. Maki explained the fear I had experienced in the discussion very well. It is “言葉の一人歩き”.

言葉の一人歩き (kotoba no hitori aruki) literally translates as “word walking on its own”. It’s the Japanese expression of the state of misused and misinterpreted information, that has nothing to do with the origin, are spreading selfishly in the society.

https://makikohastings.blogspot.com/2019/05/naming-does-matter-my-thought-on.html

This happens when we use the word without good understanding of what it actually means. I personally feel that the word “Wabi-Sabi” is a good example of this. Interestingly, once the word start walking on its own, there is no way to stop it – because we tend to listen what we want to listen and we use the most effective aspect of the word.

If the one who uses the word is aware of their action – let’s say Sashiko is the Japanese hand-stitching culture – the word walks toward slowly implementing the other values. However, when they start using the word without knowing the background, the word rapidly and drastically starts absorbing what they want to reflect on the word.

The word is a wisdom, not a tool. However, without an attitude to understand the culture and background, it could be hurtful for many people.

A good example of this matter would be the word of “Sashiko as the recycle method.” I have read some statement that we can use “whatever we have” because Sashiko’s core principal is to recycle what we have. I do not think so. Yes, Boro is the ultimate result of upcycling and recycling what they had. However, the core message of Sashiko is to appreciate & care what they had like blanket or Jacket. In order to mend the Jacket for better use in the future, they would have used the better thread (if they had a choice.) Using whatever we have in the box because of convenience is not the Japanese culture in Sashiko. By using the supplies designed for Sashiko purpose, not only the result will be more beautiful and long-lasting, it can help to preserve the industries in Sashiko.


The words of “Respect” and “Appreciation” requires Action.

In the FB comments, I was accused of overreacting. I do not believe that I overreacted to the issues. Sashiko is something very deeply rooted in my identity.

In Zen practice, the Japanese believed that the word doesn’t contain the truth. I followed this concept, and therefore, I also practice Sashiko on top of writing and sharing. Although the word “cannot” contain the truth by itself, the word can have the power and responsibility. It leads to the concept of being mindful in our ordinary days. I hope, by enjoying Sashiko, we can be mindful and think of the responsibility of what we say/write.

Again, I do not consider someone calling their hand-stitching “Sashiko” as the form of cultural appropriation. I worry more of the cultural transformation by quick read what is available online. Therefore, I would like you to call your stitching Sashiko especially when you have read my writing this far and trying to understand the Japanese culture. Your contribution can help to preserve the Sashiko culture, and I appreciate your action very much.



 [Editor’s Note]

I am still sad and angry about the comments I have received in the previous discussion on Facebook. I felt insulted – without them even trying to understand what I am trying to do. However, at the same time, it was very grateful to experience because I receive so many more messages to encourage what I do. I receive 100 times more positive messages in comparison to those insulting comments. These warm & understanding messages are the motivation of writing this article. Here is an interesting story. Those who “care” to understand the Japanese culture in Sashiko are the one who worried if they use Sashiko inappropriately – as a form of Cultural Appropriation, like you who have been reading this far. This is the writing for you who care what I do so that you would send me the encouraging messages when I get confused. I hope this article helped you to enjoy Sashiko more. The fear I feel is not from you.

I used to suppress the negative feeling such as anger or sadness. Now, I understand those feeling is what define us as human – when someone disgrace something I value the most, I should get emotional to protect it. With the fear, I would like to be as natural as one human being can be.


The Fear of alternating Sashiko

Above, as you know, I mentioned that I wouldn’t consider “calling a form of hand-stitching” Sashiko as Cultural Appropriation. Furthermore, when you “care” to understand the Japanese culture behind Sashiko, I would like to encourage you to call your stitching Sashiko. It isn’t about the stitching result much. It is about the mindset to practice Sashiko, at least the Sashiko we would like to pass down.

Let me share, once again, that I still have the fear deep down there: Sashiko may alter its form so rapidly, by those who try to “understand” Sashiko as their own way without caring, that Sashiko may lose the original form of what it actually is (was). Therefore, I keep sharing my view of the Sashiko we practice – mainly on Instagram- to encourage people to enjoy more than just stitching but something more than that.


By the way, I do not intend to control someone’s feeling or actions. If they want to practice “Sashiko” as they want, unfortunately, I have no control over it. Because I cannot control it, I just keep sharing what I believe in so the other will receive the core messages I would like to pass down. There are always people who twist the messages I am trying to communicate.

I am an idealist but I know the reality. We have all our view to look at things. One called me that I am arrogant, and accused me of acting as the authority of Sashiko. Another commented that I am intimidating to others. Well, again, I cannot control how they receive my messages.

(However, I hope, when they read what I have been writing, the words of “Arrogant”, “Authority” and “Intimidating” are the opposite terms for what I have been doing. I can say that confidently because many more of people encouraged me to keep sharing them with appreciation. I hope you understanding my point here. If I wrote something arrogant or intimidating, please let me know with the specific part that I wrote so I can self-reflect and edit them. I am a human. I make a mistake. )


It is okay that they take my message in a different way. However, for those who do not like what I share, I don’t want them to learn the Sashiko from what I write, upload as videos, or provide workshops or supplies. If they learn the Sashiko from me yet thinking that I am arrogant, then it is the fear I am worrying the most; alternating the Sashiko culture. “Convenience” isn’t the first principal of Japanese culture.

(It is fair… right? I always provide the 3 politeness replies before I get offended. Again, everyone makes mistakes and we all deserve a chance to re-do things.)

After all, Sashiko is like my family. When I see the intentional action of alternating the Sashiko culture like above, I will fight back no matter what.

Oops. The editors note got so long. I am here to share & support the Sashiko you would like to enjoy – unless you try to “care” others. Thank you for your time to read this far.

Atsushi

Workshop at Loop of the Loom | Soul of Sashiko

It is an honor to announce the Sashiko Workshop (Core & Basic) collaborating with a beloved SAORI weaving studio in NYC, Loop of the Loom. I am very happy to share the Sashiko we practice in such a beautiful space where the owner already developed the “caring atmosphere” to the participants. In the 6-hours long workshop, the participants will learn the basic and core of Sashiko stitching – Unshin (運針)- how to move the needles. We believe Sashiko is not about making one perfect stitch. It is a process of appreciating with moving the needles. Because of this Rhythm, our Sashiko pieces look beautiful with even stitches, and so will be yours.

Loop of the loom Sashiko Workshop 22

Sashiko Workshop @ Loop of the Loom

Date:

  • August 24th, Saturday | 10 am ~ 4:30 pm
  • August 25th, Sunday | 10 am ~ 4:30 pm

Location: LOOP OF THE LOOM | 227 E 87th Street #E (Lower level)

Registration: Here on Loop of the Loom page.


Why Workshop with Loop of the Loom?

You may remember my words in the beginning of 2019 – “I plan to focus on my creative activities, so I will offer as less workshops as possible.” You may be surprised that I decided to offer the workshop with Loop of the Loom.


SAORI and Sashiko

I only have read a few articles about the founder, Ms. Misao Jo. Although my knowledge is limited, I feel there are similarities between SAORI and Sashiko. It is a great opportunity to share Sashiko with resonating the similar message in Japanese culture in well-known SAORI studio in New York City. I appreciate Loop of the Loom to find us and organize such a wonderful opportunity.

Learning instead of following the direction

It is easy to simply follow the direction. You come to the workshop and enjoy Sashiko for a few hours with following the direction of the instructor. Sure. It can be fun. However, what I would like to share is more than that. I want you to be able to continue Sashiko after the workshop. The workshop is only the gateway for the Sashiko we practice.

Some workshop organizers had contacted me to offer the Sashiko workshop as the entertainment opportunity for their customers. It is perfectly fine for me to commercialize the Sashiko workshop and market it as the weekend entertainment. I would offer that type of workshop if I have unlimited time. However, becuase our capacity is very limited, I would like to focus on the “Learning opporunity” rather than “the entertainment.” Don’t worry, though. The Sashiko workshop is both entertaining & educational. I am just taking about the “purpose” of the workshop (not the contents of the workshop).



Natural Dye and to-be-Boro

Loop of the Loom also offers the Natural Dye such as Bengala and Kakishibu. We also hand-dye our Sashiko thread. Loop of the Loom will provide various kinds of swatches for the participants. I will bring my collection of Natural Dye Sashiko thread for sampling (some will be available for sales as the skein of 145 meters). Also, I will bring some samples of vintage Japanese fabric to see why we use the Natural Dye thread for some projects such as mending to make it Boro-like fabric.

Regarding this Natural Dye theme, I will talk about the Boro and its history. This “Natural Dye and to be Boro” lecture will be only available for those who register the workshop. Don’t miss this opportunity.


Eye opening day for anyone who is interested in Sashiko

After offering the Sashiko workshop to close to 200 people, I am confident to say that the Sashiko Stitching Workshop (Core and Basic) will be your eye-opening day for your Sashiko journey.

I look forward to meeting you at Loop of the Loom.