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A Close-Up Photo of the previous Sashiko Jacket. 9 geometric patterns that Keiko chose in 2021 to “recreate (trace)” what a Japanese would have enjoyed in their ordinary life. This photo probably can clarify it is all “hand-stitched”. Yes, it is a lot of hand-stitching to reach there, as some very occasionally share their impression of “intimidating” (which I hope you do not feel they are intimidating because it is NOT our intention at all).
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After teaching Sashiko for 5~6 years in English, I am so glad that there are more stitchers who think this amount of Sashiko is “Doable” – or even “not so difficult”. It takes months to complete one jacket for us. If a person stitches “one-by-one”, it may take years to complete. I often receive a compliment/distancing saying [Wow. You are so talented]. After so many good experiences here, I am confident to say out loud that anyone can reach here with reasonable amount of practice.
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When one learns the “form”, it doesn’t require decades to be a “master” – not a self-proclaimed master, but actually the master with actual stitching results (who often tend to not to consider themselves masters…) There is nothing wrong with stitching “one-by-one”, and that’s the start for everyone. Please enjoy Sashiko the way you like – and then, please keep learning more. Sashiko is more than just making one beautiful stitch. It becomes a cultural issue when they “decide” to ignore the “more” part of Sashiko as they think they cannot reach there. Anyone can do this when they learn the form, and I am here to share for the “inclusion”.
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柿渋ジャケットの拡大画像です。当たり前っちゃ当たり前なのですが、全て手刺しです。「根気があるね。私にはできない。」とお褒め（？）の言葉を頂くこともあるのですが、個人的には心から「誰でもできる」と思っています。また「根気」を続けようとすると続かないので、どちらかというと「中毒」に近い状況に陥ります。その土台にあるのが運針かなと。先日の運針会に引き続き、3月27日の運針会も満席となりました。ありがたいお話です。興味のある方は少し面倒ですがブログを一読頂いた上でご連絡下さい。こんな時代だからこそ、丁寧なやり取りの上でご縁を頂けたらと思っています。できるだけ日本の「礼」を意識して頂ければ。きっと刺し子でも大切になってくるので。
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Recently (in the last few years), our Sashiko works have been picked up for exhibitions and some events (like Live Performance). We will have our first exhibition in April. It is an honor that they would like to have our items for their events & interest from you & others. We will keep making Sashiko, and I hope you will find an opportunity to see, feel, and touch our Sashiko Jackets & items.
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As our profile states, we are a “mother & son duo” of Sashiko practitioners. Keiko has more than 40 years of experience, and I was born in the Sashiko family… so I probably saw Sashiko before I saw my father’s face. However, our work as SashiCo or Upcycle Stitches just recently came above the surface. Our Sashiko wasn’t available before 2013 online (at least, I wasn’t teaching & sharing stories this intensively). There are many reasons for this, but a rough summary is that we “restarted” in 2014 after some tragedy. It indicates that it took about 5~10 years to rebuild what we were proud of, passionate about, and simply part of our lives.
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There is nothing wrong with using “Sashiko Machines” (& I don’t dislike it at all although I won’t promote it here). It can be called “Sashiko”. However, I believe, the core experience of Sashiko exists in “Hand-Stitching”. No matter how fast we stitch, it takes time, and that’s the value there is in a society where we expect as “quick” and “short” information/practice as possible. My goal is to build the foundation of Cultural Sustainability of Sashiko by sharing stories rather than creating the Temporary Trend – and I appreciate you being here to help our foundation.
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配信2本に英語での集まり、そんでもって一番大切な運針会…とイベント盛り沢山の2日間でした。眠い……。今回の運針かいも素敵なご縁を頂けて楽しい時間になったのではないかと思っています。また思いは配信で共有しますね。さて、「茨城県で展示会やるよ」というお話を配信で触れたのですが、確認したところ、恵子さんの個人の展示会ではなく、何種類かの刺し子（私の実家含むw）を集めて展示販売されているイベントのようです。茨城県ひたちなか市の「横瀬画廊（029-285-1987）」様にて、2/11~2/20の予定で開催されています。開催時間等は直接お電話にてご確認頂けると安心かと思います。ウェブにも情報は載ってないので。もし足を運んで頂ける方がいたらレポート頂けるとすごく嬉しいですー！（写真のジャケットは多分行ってないですが、似たようなものが行っています）。
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February 8th. If you follow this account long enough, this is a kind reminder. If you are new, please remember (learn) today as Koto-Youka (事八日), the day for Hari Kuyou (針供養) in which a shrine/temple offer a ritual (ceremony) to farewell broken, unusable, or bent needles.
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In Hari-Kuyou, we say good-by to the hard-worked needles while letting them rest in something soft like Tofu. Japanese believe(d) in a type of Animism, and each item, such as a needle, has its own spirit in it. To properly appreciate the spirit, they had a ceremony on Feb.8th to “pray” for the next stage for the spirit while resting our own hands by not-stitching (so I won’t do Sashiko today).
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Why Feb.8th? How do we do it? Where do we do it? I have several articles including my friend visiting a shrine for their own Hari-Kuyou on Patreon (https://ift.tt/RJbEvr4). I made those specific articles public for a limited time, so please search for them.
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Kuyou (供養). We use this word for a deceased person as well – in my own elaborated translation (not by dictionary), Kuyou means “Sustain Our Care To” in our ordinary. Do I expect everyone to believe there is a spirit in a needle? No, but “caring for needles” for a day would be a great way to take care of what we do, and also ourselves as who we are & what we look for. We are all here thanks to something/someone. We all have preference, so like or dislike, agree & disagree are okay – but “care” as opposite of ignorance will better define who we are. Our Sashiko doesn’t exist without (specific) needles, and our Sashiko won’t be “alive” if you aren’t here. It isn’t really difficult to “sustain our care to”. We just need a fixed day to remember it – like an anniversary. Feb.8th is a day for the needle from stitchers.
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2回の大きな出張と4月の日本旅行。5月に入るまでは目まぐるしく忙しい日々が続きます。ただ、忙しいからと言って刺し子が進まないかというと寧ろ逆で、忙しい時に「今日ぐらい大丈夫だろ（いや、大丈夫かな）」という状況で進める刺し子のヒシヒシ感が好きだったりします。全く精神が落ち着かない刺し子です（笑）仕事したくなくて針持ってるっていうだけの話かもしれませんが（笑）ただ今日は事八日なので針は持ちません。自分なりの形で針に感謝をしつつ、最近ふと思う「供養」の意味に考えを巡らせてみようと思うのです。
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Thank YOU for mentioning this account here and there. If you are new & here, please read what I write instead of what you think I write. I sometimes bring up the topic of “Cultural Appropriation” – but it is NOT my intention to limit your creativity & fun. I want anyone to call their stitching Sashiko (if they want to), and therefore, I ask them to learn what Sashiko is instead of following the ignorance in trend, or worse, indifference for someone’s profit.
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I teach Sashiko Class both Online & In-person. I believe I am offering some kind of “Paradigm Shift” there – not only (but of course) the technique and design, but also philosophy & how Japanese approach(ed) to Sashiko. That being said, my goal is to pass down our Sashiko – so I share pretty much everything on here, Youtube, Patreon… everywhere I can think of & work on. I even encourage them to share/copy/imitate, or even teach what I do/say. Only thing I ask is to identify the sources (=upstream) – where they get “it” from.
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We “share” things to make a living. Analogy. I share my wisdom as I would share “a river” in front of me. I may use it for cleaning dishes while letting children play in the water – or we may catch fishes together for a day. There are millions of ways to use (appreciate) the river, yet I must tell children where this river comes from. When we ignore (neglect to acknowledge) where “it” comes from, then we may not have the same “it” tomorrow. The same thing goes to a culture – as there are millions of rivers in this world, there are numbers of Sashiko in Japan. But, well therefore, please learn the Sashiko which identify & respect where it comes from. Speaking of our Sashiko, you just need to mention this account as I will be responsible for sharing the stories of “upstream” of our Sashiko. But, your “sharing” will be the biggest help to sustain this culture. Thank You! (thanks @geri_in_stitches & @exhaustedoctopus for tag me!)
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4月の展示会＆オフ会、多くの方のお力を借りて着々と形になっております。展示会には「皆様と一緒に作った作品」も運針会プロジェクトに限らず展示する予定です（作品制作に関わって下さった方には別途ご案内メールをお送りする予定です）。日本には各地にそれぞれの刺し子が存在し「みんな違ってみんな良い」を体現しているのではないかと思うのです。だからこそ一つの答えに固執するのではなく、沢山の刺し子を知って頂きたいなと。そういう私もまだまだ勉強の身でございますので、自戒の念も込めて。
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Today’s Story is a bit personal – I remember a very powerful statement one teacher told me in my school: [If we have a moment (1%) of laughter with warm food, we can go through the 99% of miserable moments]. My Philosophy and principles are based on this phrase. Therefore, the first thing I did when I visited Otsuchi (for the Sashiko Recovery Project after Earthquake & Tsunami) was to cook a warm meal to the staff.
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I don’t have much to offer to my wife (she is the breadwinner in a household), but I make a rule to make her laugh at least once a day – not 100% success rate, but I try. The same rules apply when I offer Sashiko Workshop. I try my best to make it “funny”. Sometimes, I receive a review focusing on my joke rather than Sashiko… which is, well, very appreciated. Naturally, my personal “dream” is to stand on the stage as a “comedian” – which I am scared of, and not happening as it is “dream” yet. Regardless, I like people laughing a lot, and I believe it is how we can go through difficulties.
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On SNS, I try to be as “difficult” as possible so that I can achieve the goal of passing down the Sashiko as a part of Japanese culture – rather than just a technique or design. It is a part of Cultural Sustainability, and if you do not receive any reply from me, please search for the answer. It is usually there, very easy to find, as I usually answer when I receive a question for asking answers with the necessity of explanation. I am not here to offer “Instant Gratification/Satisfaction” – I want you to laugh, smile, and enjoy Sashiko together with us. I intend to keep this style although I understand it is much easier to adjust Sashiko to Western Culture (like others do). However, to have a good 1% moment of laughter & warm food for everyone in Sashiko, I will keep sharing what I can do.
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中学生の時の恩師が卒業式で残した言葉が、今でも強く残っています。「人はほんの少しの笑いと温かいご飯があれば、どんなに辛くても前を向いて歩ける」というものです。その後の25年の人生で、この言葉を噛み締めることは何度もあり、今でも温かいご飯を作ることは何よりも大切にしているし、家庭内でも、できれば他の皆様と触れ合う場所でも「笑い」を大切にしたいと思っています。様々な笑いがあり、好みもあると思いますが、個人的には「笑われる」のも「笑わせる」のもアリだと思っています。ナシだと思うのは「薄っぺらい満足感（表面的な笑）」です。刺し子に関しても、色々考えて、笑って生活の一部にして欲しいなと思うのです。腹抱えて笑いながら刺し子ができるなんて最高じゃないですか。そんな空間を作り、また維持できたらなと思っています。
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[Warp and Weft] – in Japanese, [Tateito & Yokoito]. It is common sense to fabric lovers that fabrics are woven with Warp and Weft. Wapr itself won’t make it fabric, and vice versa. Our days are similar, in my understanding, so is culture.
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An example. Let’s say that culture is “woven” with “Warp and Weft”. Warp is like the chronological time-line from Past, Present and Future. Weft is like our “relationship” as family, friends, and communities. By combining both, we can sustain our days. Not only focusing on the past, present and future. Not only focusing on the “fun time” with related others. However, when a trend may sometimes introduce only “Weft side” as if Warp will always be there. In most cases, Warp as historical stories would continue, but in this Internet world – we also need to pay attention to the significance of Warp – that’s what I named as “Cultural Sustainability” – the Video is available from my profile.
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Sashiko is a stitching to add thread (stitches) to those “Warp and Weft”. Therefore, before teaching what Sashiko is, one has to learn what “Warp and Weft” are for Sashiko, even in analogy or examples. My voice isn’t loud. The trend is much stronger. Some say it is too late (and I agree with them if I expect to do so with no pain). But I am willing to spend all of my life to keep the beautiful Japanese fabric – as a result of our/your own warp and weft – to call it Sashiko.
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思春期真っ只中にみた「聖者の行進」（ドラマ）。内容が過激だったのもあって主題歌の素晴らしさに気がつくのは、少し後になってからで。刺し子と真剣に向き合うようになり、布とは何かを改めて考えるようになり、「糸」という歌の歌詞の素晴らしさにも感動して。「縦の糸はあなた、横の糸は私…」その続きが思い出せない人は、是非ググってみて下さい。布って、糸ってそういうもんなんだろうなと妙に納得できるはずです。
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経糸と緯糸。布はどちらか片方だけでは成立しません。刺し子はすでに存在する経糸と緯糸に「糸を足す」針仕事です。「糸で作る（仕立てる）」だけじゃなく、また「糸で彩る（刺繍する）」だけでもなく、糸を加えます。布と向き合う段階で既に、また針と糸を通して刺し子をする段階では十分に、縦と横のバランスは見えているから針が進めるわけで。
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文化や人の営みも、この経糸と緯糸のような「仕合わせ」によって成り立っていると思っています。私のイメージですが、緯糸が「刺し子を一緒に楽しむ友達の繋がり」だとすると、経糸は「過去現在未来という時系列の繋がり」、つまりは「受け取り受け渡す繋がり」だと思っています。両方ないと仕合わせは成り立ちません。違っても良い。同じじゃなくていい。ただ、頂いたご縁は大切にして、画一的に緯糸だけで良いやと決めつけないように刺し子をしていきたいものです。
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I had a great talk session with @quilt.buzz. The episode is up on the air. As the interviewers learned what Sashiko is for us in advance of the talk session, the content is quite rich to understand what Sashiko is (for us). It may be quite different from what majority of people in English have heard about Sashiko – but this is one side of the stories & what it is, spoken by Japanese who have been actually stitching Sashiko for a while.
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This may sound a bit arrogant, but I don’t think “Any Publicity is a Good Publicity”. The statement would be true when my goal is to get attention & monetize the flow. However, as my focus is trying to protect “Cultural Sustainability”, publicity has to be somewhat comprehensive. I agree that Culture Changes overtime. I just want it to be “Change”, not ignorance & indifference. Therefore, it is very important to know who is interviewing me. If an interviewer/writer/film-maker has their own message before they talk to me, then the stories will not be comprehensive – and end up encouraging ignorance instead of change. I really appreciate those who wish to learn Sashiko to have me for their media, and this “difficulty” is the reason that this account has so many posts, yet not so many publications on the 3rd party media. I am here, though. I am a real person with actual stitching as the ordinary. I hope you enjoy the podcast on Quilt-Buzz.
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あまりメディア露出には積極的ではないのですが、時々しっかりと私の伝えたい刺し子を学んで下さった上で（ワークショップを受講頂く等して頂いた後で）、取材等のご依頼を頂くことがあります。今回のオーディオ番組もその一つ。既に「（私にとっての）刺し子とは」という核になるところは学んで頂いた上で、初めての方でもストレスなく楽しんで頂けるようなポッドキャストになっていると思います。英語ではありますが、是非お聞き頂けたら嬉しいです。
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「英語と刺し子」という、まぁとんでもなく不思議な組み合わせで人生を組み立てている訳ですが、学生時代に必死になって「英語を勉強」して、「英語で勉強」する留学に至った後でも、ずーっと英語力不足には悩んでいました。当時は絶対に必要ないと思っていた日本への知識や思いが、今では英語力への不安を塗りつぶすほどの力を発揮してくれています。一番大切なのは「何を話すか」ということ。もちろんある程度の基礎能力は必要でしょうが、どれだけ言語能力が高くても話す内容が薄っぺらかったら本末転倒という話なんだろうと思います。まだまだ下手な英語で、発音も中途半端、文法に至ってはぐっちゃぐちゃですが…それでもこれだけの方が興味を持って聞いて下さることに感謝しつつ、私なりの社会への還元ができたらと思っています。「英語に興味があるけれど、何を話していいか不安でわからない」という刺し子好きな方へ、その一歩を踏み出す勇気を共有できる場所を作り続けたいと思っています。（毎月英語で刺し子の集まりをやっているのでご参加ください！！）。
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We now enjoy the “antique” side of Boro – some pieces of Boro are nicely exhibited in museums, or sold in the big antique market as “Art”. This is a very interesting phenomena, and I agree with the beauty of Boro. However, I feel the need to share the Stories of “Boro” and Sashiko. (Boro & Sashiko aren’t techniques in comparison – it is more like “Same” on the same time-line).
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A few hundreds years ago, some Japanese had to stitch for their survival. It was often a necessity, not a choice. We appreciate the outcome of this “Out of choice” in a society where “Freedom of Choice” is the standard. It is culture – and the culture should change. And THEREFORE, I would like to share the stories & “techniques” to lead us to the stories to preserve Sashiko & Boro. By following the stories, we may be able to leave something behind for those who find our work beautiful in 2213 – about 200 years from now. When we ignore some of the stories in this long history, then we won’t be able to keep this sustainable for another 100 years. In a society where everyone can be connected over the Internet, everyone is a part of “making a choice”. I really appreciate you being here & listening to the stories. Although what I do isn’t the main stream of “Sashiko” and “Boro” unfortunately, I will keep trying my best to share stories so that I can be proud of myself in 200 years from now.
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刺し子をお伝えするようになり「線引きをする必要はあるんだろうか」と強く意識するようになりました。日本語での結論を先に言うと、絶対的な線引きの必要性はないと思っています。私の好きな日本文化の一つに「曖昧さ」があります。曖昧が姿を変えると優柔不断となったりリーダーシップが無いと言った良くない側面が前面に出てしまうのですが、逆に「曖昧のまま」前に進めるというのは、日本的で素晴らしいなと思うようになりました。刺し子も襤褸も、その「曖昧さ」の中で培われてきたように思います。
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私が普段使う言葉の中に、「日常」というものがあります。簡単に使っている言葉ですが、この日常は人それぞれ、十人十色で違ってきます。同じ日本人でも、当たり前ですが、日常は違います。その違いを雑にまとめて、曖昧なまま「日本の日常」として前に進めることができるのが素晴らしい所で、「じゃぁ日常とはなんだ？」と突き詰めて考えるところまでは良いとして、その後の「日常とは何かという定義付けをしよう」というところまでは行ってほしくないのです。選択肢となった刺し子の中で、刺し子をされる方一人一人の「日常」と向き合って、単純に楽しんで欲しいなというのが願いです。極論を言えば「芸術家の家庭に育った方」にとっては芸術が日常な訳で、刺し子が芸術になることすら日常の範疇に入るのです。線引きが必要なのは、それが言語を超えた時。このアカウントの存在意義は、その「一線を飛び出した後の線引き」を模索することなんだろうなと思っています。
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I often enjoy Sashiko with Indigo Dyed Cotton Fabric & White Thread. This combination has been introduced as “Tradition”, and some think that I am trying to “protect” this tradition by denying the on-going change. They say I am stubborn – one even accused me of being an obstacle to “their” creativity. Well… please let me know if you find any articles or videos that say it is NOT okay to use colorful threads and fabrics. There are no problems or concerns with using any colors in Sashiko like the photo today. This is the recent work by Kieko. The reason I use Indigo Dye Fabric & White threads aren’t so sublime. It is more practical & ordinary: I just feel comfortable with Indigo & White.
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I like (French) Fries with Ketchup. I understand that there are many dipping possibilities like Mustard, Ranch, you name it. While watching the show “Prison Break”, I learned that dipping (soaking) fries into a milkshake is one option. Derrick had it so attractively. I tried it once. I enjoyed the taste of Fries with Milksahek, but it didn’t become my ordinary. After so many years, I still prefer Ketchup.
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For me, “Indigo & White” is like Fries and Ketchup. It makes me feel easy & satisfied. Trying something new is great and entertaining, yet we often come back to the “ordinary choice”. Here, the ongoing trend of Sashiko & Boro can be like Fries & MilkShake. It may be ordinary for some people, and that’s great. However, it is NOT the answer for how to eat fries. I just like Ketchup, and hopefully I would like to keep this option to the next generation by sharing how good they are. What I do isn’t so extraordinary – I am just trying to protect our ordinary from someone who uses our ordinary for their benefit (convenience).
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「藍染め布に白い糸の幾何学模様」が伝統的な刺し子とされているようです。個人的には伝統的とかあまり考えたことはなく、ただ単純に「藍染め布と白い糸と幾何学模様」の組み合わせが好きなのです。考えなくても失敗しないですし、変に気を使わなくても良いですし。ただの好みの話です。ですから「カラフルな刺し子は間違っている」なんていうのは一言も今まで言ったことはないはずです。色を上手に使う刺し子に憧れたこともあるし、デザイン要素が強い刺し子を試してみたいと思うこともあるのですが、やっぱり慣れた場所が一番です。海外旅行は素敵ですが、家に帰ってお味噌汁を飲むとほっとする感覚なんだと思います。たまには私も冒険はするんですけどね。刺し子の本質を考えながら、様々な色を楽しんでもらうのが一番の刺し子の姿だと思っています。
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You may have heard someone saying, “Oh, you don’t need to use the(a) thimble in Sashiko”. This is a true statement. In Sashiko, no one “needs” to use anything if that’s their preference. However, it can be quite risky to “teach” a cultural practice based on their “preference”. Here is another analogy. 

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When we cook, we can cut ingredients without cutting-board. However, the cutting board will protect our hands, the counter top, and help us to cook “better”. Of course, one can choose NOT to use it, but if one teaches about cooking, “You don’t need to use a cutting board in cooking” as if they know the whole picture of cooking can be very dangerous. For me, the cutting board is the thimble we use. We need the knife to cut no matter what – as we need a needle to stitch. There are so many kinds of knives to cut different ingredients, so are the needles. 

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The point of this analogy is that there are reasons & stories why cutting boards exist. We can ALWAYS find a cutting board in a store’s kitchen section. There are reasons for the thimble we use. I teach how to use the thimble, but never “force” them to keep using it after the class (I force them to use it in the class). Yet, many students keep using the thimble just because it makes sense & better in experience of the Sashiko you see here. “Choice on Preference” is great & should be respected. However, a “teaching” shouldn’t be based on someone’s preference mainly because these “preferences” can be the outcome of ignorance/indifference. Learn how to use the thimble. Try to feel the difference. Then, they can choose based on their preference. There is a HUGE gap between [I don’t (use it)] and [I can’t (use it)]. 

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英語で刺し子を教えるようになり、「ゆびぬき」について深く考えるようになりました。当たり前すぎて考えなかったことです。運針をお教えする中で「なぜ指貫が必要なのか」もお話しできるようになりました。運針会中は指定の指貫の強制を致しますが、その後は刺し子をされる方の自由です。それでもずーっと使い続けられているのは、それだけの存在理由があるからです。「刺し子に指貫なんていらない」という好みは真実ですが、それを正解として英語で書かれてしまうと、それは指貫が必要な私達を置いてけぼりにする文化の捻じ曲げだなぁと思うのです。また配信で、上記に英語で書いた「指貫とまな板」の比較のお話をしますね。好みは良いんです。ただ、教える時は好みだけじゃ駄目。「できるけれど使わない」と「使えない」にはとんでもなく大きな差がありますから。

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