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ReturnArt of Japanese kimono-making fades(1)
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PublishDate：
2007-01-12 16:10:00
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Art of Japanese kimono-making fades
Few weavers remaining as demand falls
Yasujiro Yamaguchi, 102, one of the last master weavers of the Nishijin kimono district, worked the loom in his workshop.
KYOTO, Japan -- His fingers muscled from almost a century of weaving, Yasujiro Yamaguchi worked the humming loom in his private workshop. Patiently lacing golden threads through a warp of auburn silk, he fashioned a bolt of kimono fabric blooming with an autumn garden in shades of tea green, ginger, and plum.
But Yamaguchi, like Japan's signature kimono, is slipping into winter. At 102, he is among the last master weavers of Nishijin, the country's most celebrated kimono district, and his pace has slowed. He rubbed the morning chill from his knuckles, fitted his hunched shoulders deeper inside his indigo jacket, and resolutely pushed on.
This kimono -- for the role of a willowy beauty in a classical Noh play, withering from the loss of her lover -- will take him a full year to make. If Yamaguchi doesn't finish it, there are few weavers left in Japan skilled enough to take over.
"This kimono must be beautiful, but there is also sorrow in the weave," Yamaguchi said, eyes trained on his stitch. "The audience will see this and immediately understand that the character is mourning for something precious, for something lost."
This requiem could apply to the Japanese kimono itself, and particularly Nishijin, the district that for 1,200 years has been the heart and soul of this nation's weaving tradition.
Since 794, when the imperial court arrived illustriously in the new capital of Kyoto, Nishijin has clothed emperors and shoguns, princesses and geisha, prime ministers and mistresses. It survived fires and floods, the post-World War II American occupation, and, for decades more, fickle tastes. Twenty-five years ago, production of Nishijin kimonos and obi -- elaborate kimono sashes -- was thriving, with high-flying Tokyo businessmen buying $25,000 kimonos for wives and lovers like so many boxes of roses.
But today, as a result of globalization and rapidly changing demographics, the kimono business has collapsed, its future in question. Sales are expected to sink to a record low this year, even as Japan has emerged from recession to experience its longest economic boom since World War II.
The prosperity has come with an altered set of cultural values. This is a country of manga comics and glittering animation. The rising moguls driving the new economy are more likely to buy muscled chrome from one of Tokyo's expanding list of Ferrari dealerships than drop their spoils on Kyoto silk.
As the kimono becomes more museum piece than couture item, what once made it quintessentially Japanese is gradually fading. Market realities have forced kimono makers to eschew expensive Japanese silk. As a result, more than 90 percent of new kimonos and obi made in Japan, including most of those from Nishijin's most venerable textile houses, are now woven from cheaper imported silk.
Source:Industry Website
Few weavers remaining as demand falls
Yasujiro Yamaguchi, 102, one of the last master weavers of the Nishijin kimono district, worked the loom in his workshop.
KYOTO, Japan -- His fingers muscled from almost a century of weaving, Yasujiro Yamaguchi worked the humming loom in his private workshop. Patiently lacing golden threads through a warp of auburn silk, he fashioned a bolt of kimono fabric blooming with an autumn garden in shades of tea green, ginger, and plum.
But Yamaguchi, like Japan's signature kimono, is slipping into winter. At 102, he is among the last master weavers of Nishijin, the country's most celebrated kimono district, and his pace has slowed. He rubbed the morning chill from his knuckles, fitted his hunched shoulders deeper inside his indigo jacket, and resolutely pushed on.
This kimono -- for the role of a willowy beauty in a classical Noh play, withering from the loss of her lover -- will take him a full year to make. If Yamaguchi doesn't finish it, there are few weavers left in Japan skilled enough to take over.
"This kimono must be beautiful, but there is also sorrow in the weave," Yamaguchi said, eyes trained on his stitch. "The audience will see this and immediately understand that the character is mourning for something precious, for something lost."
This requiem could apply to the Japanese kimono itself, and particularly Nishijin, the district that for 1,200 years has been the heart and soul of this nation's weaving tradition.
Since 794, when the imperial court arrived illustriously in the new capital of Kyoto, Nishijin has clothed emperors and shoguns, princesses and geisha, prime ministers and mistresses. It survived fires and floods, the post-World War II American occupation, and, for decades more, fickle tastes. Twenty-five years ago, production of Nishijin kimonos and obi -- elaborate kimono sashes -- was thriving, with high-flying Tokyo businessmen buying $25,000 kimonos for wives and lovers like so many boxes of roses.
But today, as a result of globalization and rapidly changing demographics, the kimono business has collapsed, its future in question. Sales are expected to sink to a record low this year, even as Japan has emerged from recession to experience its longest economic boom since World War II.
The prosperity has come with an altered set of cultural values. This is a country of manga comics and glittering animation. The rising moguls driving the new economy are more likely to buy muscled chrome from one of Tokyo's expanding list of Ferrari dealerships than drop their spoils on Kyoto silk.
As the kimono becomes more museum piece than couture item, what once made it quintessentially Japanese is gradually fading. Market realities have forced kimono makers to eschew expensive Japanese silk. As a result, more than 90 percent of new kimonos and obi made in Japan, including most of those from Nishijin's most venerable textile houses, are now woven from cheaper imported silk.
Source:Industry Website
