Sunday, June 7, 2015

Hemp: the fabric of Japan, the story behind asanoha


Workers harvest cannabis at a licensed farm in Tochigi Prefecture. | JUNICHI TAKAYASU

Cannabis: the fabric of Japan

BY JON MITCHELL
SPECIAL TO THE JAPAN TIMES: Lifestyle
APR 19, 2014
An increasing number of states in the U.S. are easing policies on cannabis prohibition but little discussion has taken place in Japan on the potential benefits of adopting a similar approach. As various locations around the world celebrate annual April 20 marijuana festivals, we examine the country’s historical and cultural links to the much-maligned weed.

When Junichi Takayasu was 3 years old, a picture book about ninjas changed his life forever. What fascinated him most, however, wasn’t the assassins’ stealthy skills or secret gadgets but their usage of a very special plant.
“The book showed how ninjas trained by jumping over cannabis plants,” Takayasu says. “Every day they had to leap higher and higher because cannabis grows very quickly. I was so amazed that I told my mom I wanted to grow cannabis when I was older.”
Understandably, Takayasu’s mother was rather distressed by her son’s aspiration. Japan’s anti-cannabis laws are among the strictest in the world, with possession of even small amounts punished by five-year prison sentences and illicit cultivation earning growers seven years behind bars.
However, Takayasu refused to let this put a damper on his dreams. Today, more than 40 years later, he is one of Japan’s leading experts on cannabis and the curator of Taima Hakubutsukan — the nation’s only museum dedicated to the much-maligned weed. Opened in 2001 in the town of Nasu, Tochigi Prefecture, approximately 160 km north of Tokyo, the museum’s mission is to teach people about the history of cannabis in Japan — a past that, Takayasu believes, has been denigrated and forgotten for far too long.
“Most Japanese people see cannabis as a subculture of Japan but they’re wrong,” Takayasu says. “Cannabis has been at the very heart of Japanese culture for thousands of years.”
According to Takayasu, the earliest evidence of cannabis in Japan dates back to the Jomon Period (10,000-200 B.C.), with pottery relics recovered in Fukui Prefecture containing seeds and scraps of woven cannabis fibers. “Cannabis was the most important substance for prehistoric people in Japan,” he says. “They wore clothes made from its fibers and they used it for bow strings and fishing lines.”
It is likely that the variety of cannabis from which these Jomon Period fibers originated was cannabis sativa. Tall-growing and valued for its strong stems, it is from sativa strains that today’s specially bred industrial hemp is derived.

In the following centuries, cannabis continued to play a key role in Japan — particularly in Shintoism, the country’s indigenous religion. Cannabis was revered for its cleansing abilities so priests used to wave bundles of its leaves to bless believers and exorcise evil spirits. This significance survives today with the thick ceremonial ropes woven from cannabis fibers that are displayed at shrines. Shinto priests are also known to decorate their wands with strips of the gold-colored rind of cannabis stalks.
Cannabis was also important in the lives of ordinary people. According to early 20th-century historian George Foot Moore, Japanese travelers historically used to present small offerings of cannabis leaves at roadside shrines to ensure safe journeys. He also noted how, during the summer Bon festival, families burned bundles of cannabis in their doorways to welcome back the spirits of the dead.
Until the mid-20th century, cannabis was cultivated all over Japan, particularly in Tohoku and Hokkaido, and it frequently cropped up in literature. As well as references to cannabis plants in ninja training, they also feature in the “Manyoshu” — Japan’s oldest collection of poems — and the Edo Period (1603-1868) book of woodblock prints, “Wakoku Hyakujo.” In haiku poetry, too, key words describing the stages of cannabis cultivation denoted the season when the poem is set.

“Cannabis farming used to be a year-round cycle,” Takayasu says. “The seeds were planted in spring then harvested in the summer. Following this, the stalks were dried then soaked and turned into fiber. Throughout the winter, these were then woven into cloth and made into clothes ready to wear for the next planting season.”
With cannabis playing such an important material and spiritual role in the lives of Japanese people, one obvious question arises: Did people smoke it?
Takayasu, along with other Japanese cannabis experts, isn’t sure. Although historical records make no mention of the practice, some historians have speculated that cannabis may have been the drug of choice for commoners. Whereas rice — and the sake brewed from it — was monopolized by the upper classes, cannabis was grown widely and was freely available.
Some scientific studies also suggest high levels of psychoactive tetrahydrocannabinol (THC) in cannabis plants in Japan. According to one survey published by the United Nations Office on Drugs and Crime in 1973, cannabis plants from Tochigi and Hokkaido clocked THC levels of 3.9 percent and 3.4 percent, respectively. As a comparison, the University of Mississippi’s Marijuana Potency Monitoring Project revealed that average THC levels in marijuana seized by U.S. police in the 1970s were only around 1.5 percent.
Nor are Japanese people averse to taking advantage of the medicinal benefits of cannabis. Long an ingredient in traditional Chinese medicine, cannabis-based cures were available from Japanese drug stores to treat insomnia and relieve pain in the early 20th century.
However, the 1940s — in particular, World War II — marked a major turning point in the story of Japanese cannabis production.
At first, the decade started well for farmers. “During World War II, there was a saying among the military that without cannabis, the war couldn’t be waged,” Takayasu says. “Cannabis was classified as a war material, used by the navy for ropes and the air force for parachute cords. Here in Tochigi Prefecture, for example, half of the cannabis crop was set aside for the military.”
Following the country’s defeat in 1945, however, the U.S. authorities occupying Japan brought with them American attitudes toward cannabis. Washington had effectively outlawed cannabis in the United States in 1937 and now it moved to ban it in Japan. In July 1948, with the nation still under U.S. occupation, it passed the Cannabis Control Act — the law that remains the basis of anti-cannabis policy in Japan today.
There are a number of different theories as to why the U.S. outlawed cannabis in Japan. Some believe it was based upon a genuine desire to protect Japanese people from the evils of narcotics, while others point out that the U.S. allowed the sale of over-the-counter amphetamines to continue until 1951. Several cannabis experts argue that the ban was instigated by U.S. petrochemical interests in a bid to shut down the Japanese cannabis fiber industry, opening the market to man-made materials such as polyester and nylon.
Takayasu locates the cannabis ban within the wider context of U.S. attempts to reduce the power of the Japanese military.
“In the same way that U.S. authorities discouraged kendo and judo, the 1948 Cannabis Control Act was a way to undermine militarism in Japan,” he says. “The wartime cannabis industry had been so dominated by the military that the Cannabis Control Act was designed to strip away its power.”

Whatever the motivation, the U.S. decision to prohibit cannabis created panic among Japanese farmers. In an effort to calm their fears, Emperor Hirohito visited Tochigi Prefecture in the months prior to the ban to reassure farmers they would be able to continue to grow in defiance of the new law — a surprisingly subversive statement.
For several years, the Emperor’s reassurances proved true and cannabis cultivation continued unabated. In 1950, for example, there were approximately 25,000 cannabis farms nationwide. In the following decades, however, this number plummeted. Takayasu attributes this to a slump in demand caused by the popularity of artificial fibers and the costs of the new licenses cannabis farmers were required to possess under the 1948 act.
Nowadays, Takayasu said, there are fewer than 60 licensed cannabis farms in Japan — all of which are required to grow strains of cannabis containing minimal levels of THC. With the number of farmers so low, Takayasu fears for the future of cannabis in the country. As far as he knows, there is only one person left in the nation versed in the full cycle of seed-to-loom. That person is 84 years old and when she dies, Takayasu fears, her wisdom will disappear with her.
Faced with this danger of extinction, Takayasu is determined to preserve Japanese cannabis culture. He organizes annual tours to the legal farms near his museum to show visitors how space-intensive cannabis cultivation is and how it requires few — if any — agricultural chemicals. Additionally, Takayasu runs monthly workshops to teach people about weaving cannabis fibers. On display in the museum are a variety of clothes made from cannabis; the soft cream-colored material is warm in winter and cool in summer — perfectly suited to the Japanese climate.
Among the museum’s fans are members of the local police department, who praise his efforts to revitalize the rural economy and sometimes visit to learn more about the outlawed weed.
All of this is testament to Takayasu’s ongoing enthusiasm for the special plant he first encountered as a 3-year-old boy.
“Japanese people have a negative view of cannabis but I want them to understand the truth and I want to protect its history,” he said. “The more we learn about the past, the more hints we might be able to get about how to live better in the future.”
Information on Taima Hakubutsukan, including driving directions and opening hours, is available at www.facebook.com/taimamuseum.

What’s in a name?

Botanists usually divide the cannabis family into three broad categories: tall cannabis sativa, bushy cannabis indica and small cannabis ruderalis.
However, this simple taxonomy is often frustrated by the interfertility of these three types that allows them to be crossbred into limitless new varieties.
The desired properties of these hybrids tend to determine the name by which they are commonly known.
Marijuana, for example, usually refers to cannabis plants that are grown to be ingested for medical or recreational uses. Cannabis sativa is said to give users a feeling of energetic euphoria and can be prescribed for depression, whereas cannabis indica is apparently more sedating so can be used as a muscle relaxant or to treat chronic pain.
Hemp is the name often applied to tall plants from the cannabis sativa category that are primarily grown for their strong fibers — but may also contain significant levels of THC.
Most recently, the term industrial hemp has been coined in the U.S. to refer to cannabis plants that have been specially bred to contain very low levels of THC (less than 1 percent) in order to conform to current drug laws.
Today, many of Japan’s licensed cannabis farms grow a low-THC strain called Tochigi shiro that was first developed in the postwar period.

Tuesday, June 21, 2011

Evangelion with Endless Summer Girls


Evangelion Summer Kimono Offered in Japan
posted on 2011-06-17 09:00 EDT by Anime News Network

The online store for the Evangelion anime franchise will begin offering official Evangelion yukata (summer kimono) in collaboration with the designer RumiRock on June 23.

The yukata come in two pattern styles: Akai Umi (Red Sea) and EVA 3-Tai (3 EVA Units, pictured right). By design, the yukata patterns are not immediately recognizable as Evangelion patterns at first glance.

The 100% cotton yukata are available in three sizes — ladies' M, men's M, and men's L — for 29,400 yen (about US$366). In addition to the official online Evangelion Store, Tokyo's Shinjuku Marui One department store and the online retailer Kimono Switch will offer the yukata.

The Evangelion store also offers six styles of themed hand towels for 2,100 yen (US$26). Shinjuku Marui One will offer an "Evangelion with Endless Summer Girls" campaign line of women's items and apparel between July 8 and July 28.

Sunday, June 12, 2011

Help me Obi


At Kinokuniya.

$30 each, 8 different designs.

If they made bolts it would be the best yukata in a galaxy far, far away...

Tuesday, November 16, 2010

Motifs: Nozarashi

NOZARASHI MOTIF (野晒図)
About kimono, sometimes we come across the motifs of ghost or skull bone. Men's kimono have them comparatively often compared to women's one. If we find them in vintage kimono, the price must be very high for its rarity. Once I have seen a beautiful ghost motif yuzen kimono offered at an auction, pirce was amazingly high. Skull bones motif is called 'Nozarashi', which means ' bodies exposed ('sarasu') in the field ('no'). There are some folk or horror tales about Nozarashi, and it was seem to be popular motif at a term. Nozarashi was considered to be a symbol of the kind, which means the courage or preparedness. Nozarashi motif in the shoubou banten (firemen's jacket) is the very good sample of it.
(source: Ichiroya blog, Kimono Flea Market ICHIROYA)

野晒の扇面
花の時/迷ひしもこの/枯野かな
野晒の扇面 "Nozarashi fan", Edo Period.
江戸時代「八万四千煩悩主人図」豪潮寛海(1749-1835)
source: 佐賀大学付属図書館 貴重書コレクション

いずれはともにシャレコウベ
喧嘩しないで/くらそじゃないか/すゑはたかいに/この寿かた
伊達政宗遺訓
Don't quarrel my honey, in the end, both of us become such a skeleton.
(Date Masamune's Last Instructions, Sengoku period.)
source: 伊達政宗公遺訓 松島博物館所蔵 (画像は複製をもとに作成)

Thursday, October 14, 2010

昼夜帯 Chuya - Day Night Obi

When kimono were worn every day, they could be tied with a great variety of obi. Many of the informal obi styles, like the soft, black-satin faced chūya obi, have disappeared.
(Chapter 4: Kimono in Modern Japan > Types of Obi, pg 186)

There is a vintage
kimono shop in Kyoto, for example, that has shelves piled with soft obi faced in black satin. These are pliant hand-painted silks rather than brocade, worn through the 1930s as casually stylish everyday clothing. These obi are friendly, not forbidding. They are also obsolete.
(Chapter 4: Kimono in Modern Japan > The Feminist Critique, pg 140)

This style of obi is called
chūya (noon-night), because it was always black satin on one side, a color on the other. I suspect that this style may have originated among geisha (who influenced so many kimono fashions) because, upon rising around noon, they could well have worn such a thing until they changed into elaborate brocades for their evening's work of entertaining. I have never read anything that suggests this origin, but the designs on so many of these old chūya obis are often quite chic - just the sort of thing one readily imagines a geisha wearing.
(Liza Dalby's Kimono, Footnote 4.16, pg 342)



昼夜帯 Chuuya (Day Night) Obi still used for modern dance costumes. Reversible and nifty.
(13,650円, from Y!Japan here)

They show up often in Edo-era prints from Ikeda Eisen.

Wednesday, October 13, 2010

Kimono Hack #98

Premade otaiko using an intact fukuro obi, but should work on Nagoya type.

No cutting involved. Serious.

帯結びは3分で
11 min - Oct 13, 2009 by yoichi0812

Thanks, takichi-tokyo.com

P.S. - When using binder clips (or unfinished wood clothespins - classic!), Youtube-er okigarukimonojuku uses scrap paper to protect her nice obi from potential snags.

Tuesday, October 12, 2010

Kimono Contraptions #55




Original! An obi makura taikomochi - a 'pillow-bearer'. Handmade of wood.

from Y!Japan auctions (700Y, here)

Monday, October 11, 2010

Spray Art - Painted Hanten Linings

スプレーアート 「内半纏ペイント」
Spray Art - Painted Hanten Linings
from イグジン Igujin
Sun May 05, 2010

What are Hanten? Traditional short winter coats, like fitted haori. These designs are so delicious I wouldn't want to wear them as linings.


酔っ払いサムライ Drunken Samurai


舞妓 Maiko (but we know it's more like a courtesan)


鯉 Koi (carp)


サムライ Samurai


(coloring or paint)


鯉 Koi (carp)


蝶 Chou (butterfly)


アフロ骸骨 Afro gaikotsu (Afro skeleton)


虎 Tora (Tiger)


(clarity)

They take commissions.

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SPRAY ART EXIN http://www.sprayart-xin.com/
Tomitsuka cho, Naka-ku Hamamatsu, Shizuoka Prefecture

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~アシスタント募集中~ - Wanted - Assistant

スプレーアートEXINでは、 SPRAY ART EXIN Co
アートに関する仕事に携わりたいアシスタント希望者を募集しております。 We are looking for assistants who want to be involved in work related to art.

詳細→ http://xin.hamazo.tv/e2319677.html
More → http://xin.hamazo.tv/e2319677.html

Sunday, October 10, 2010

Kimono Contraptions #39


Easy-tie belt for hanhaba (half width) obi.

The diagram shows how to use it for a cho musubi (butterfly knot).

(647Y, from Y!Japan auctions here)

Tuesday, October 5, 2010

Telegraph UK: Liza Dalby, the blue-eyed geisha

American anthropologist Liza Dalby, the blue-eyed geisha, is famous for being the first Western woman to have ever trained as a geisha.

By Leah Hyslop
Published: 10:01AM BST 04 Oct 2010

(photo: Liza Dalby as a geisha)

One day in the late 1960s, a 16-year-old American girl called Liza Dalby was walking down a street in Saga, a city in southern Japan, when she heard the music of the shamisen for the first time.

“At the time, I didn’t even know that the shamisen is closely associated with geisha,” says Dalby, who had gone to Japan to study for a year after graduating from her high school a year early. “But I was captivated by it, and my host family arranged for me to have some lessons learning the instrument.”

It was lucky that they did. Eight years later, when Dalby returned to Japan as a graduate student to research a phD on geisha, it was her skills on the shamisen that unlocked the door to the community which would make her a household name; the notoriously closed geisha community, or karyūkai - the “flower and willow world”.

“Getting access to geisha is difficult,and it was especially hard at the beginning," recalls Dalby. "But my shamisen teacher in Tokyo turned out to be the perfect connection, since some of his students were geisha. After that, one connection always seemed to lead to another."

Dalby never planned to become a geisha herself, but during the course of her research was eventually invited to join a small geisha community in Kyoto, where the geisha tradition is sometimes said to have originated. “They saw that I was serious in my study and they felt that I would not really be able to understand their lives unless I experienced it myself.”

Becoming a geisha is a notoriously long and difficult process. In the past, girls could be bonded to a geisha house or okiya as children, and training today can still last for over five years. Apprentices, known as maiko, are trained in the traditional Japanese arts, as well as in social skills such as tea-serving and conversation.

Because of her age, Dalby couldn’t make the conventional debut as a maiko - “Most geisha in Kyoto start out as maiko at 17. I was 24” - but it was agreed that she could instead debut as a full geisha. Strangely enough, it was once again the shamisen which tipped the balance in her favour. “Geisha tend to specialize as either a dancer or a musician. It was only because I already knew how to play the shamisen that I was allowed to do it.”

Dalby finally made her debut in 1976, taking the geisha name Ichigiku, and soon earned a reputation as "the blue-eyed geisha” in the Japanese media. Did she find debuting under such intense scrutiny difficult?

“There are many social obligations that geisha have to each other in the hierarchical world of Kyoto, and it was difficult to remember all the proper rituals - I was constantly afraid of offending someone without meaning to,” she says. “But one day, I walked through a restaurant in my kimono, and was mistaken from behind as a ‘real’ geisha. That was a really great moment.”

Her biggest surprise during her time in Japan was discovering how outspoken and independent geisha are. “I had expected geisha to act subservient, especially around customers, but the reality was completely different. Also, I had thought there would be a lot of competition for customers - something like the world described in Arthur Golden’s novel, Memoirs of a Geisha. But in Kyoto, the sense of shared community was very strong. Customers may come and go, but your sister geisha are going to still be there.”

After she finished her PhD, later published as the book Geisha, Dalby returned to America, where she took up a teaching position at the University of Chicago. In 2004, she acted as a consultant to Arthur Golden when he was writing his best-selling novel, and later, as what she calls an “on-set geisha advisor” for director Rob Marshall’s film adaptation. The film of Memoirs of a Geisha received mixed reviews: the choice of Chinese actresses Zhang Ziyi and Gong Li for two of the main roles proved controversial, and its lavish romanticisation of geisha life saw it dubbed by one critic as “as authentic as cheeseburger teriyaki”. What did Dalby make of it?

“While the director and producers often asked my opinion on things, most of the time they went ahead and followed their own vision, “she says drily. “I do consider the film a wasted opportunity. As it is, it is just another western fantasy. Geisha are very misinterpreted in Western society - perhaps it’s because we don’t really have anything like geisha in our culture. People just have a hard time getting their minds around the idea of women who live in communities of women, entertain men, and aren’t prostitutes.”

Though geisha are still considered a central part of Japanese culture, the tradition is changing. As the Japanese economy has boomed, less and less young women see becoming a geisha as an attractive career choice, and some okiya struggle to recruit apprentices. Many women dressed as geisha are, Dalby warns, in fact just targeting tourists, and have had little or no formal training. Since Dalby, there’s even been another non-Japanese geisha - Australian Fiona Graham, who, due to the fact that she went through a more traditional training process, also lays claim to being the “first non-Japanese geisha”.

“In my opinion, it is really only the Kyoto geisha who have managed to make a success of things,” says Dalby. “They have done it by banding together and tying their fortunes to those of Kyoto itself, as a city of tradition. The older women, or ‘mothers’ of the five geisha districts make sure that the training of maiko is still authentic and rigorous. I think they realize that if they are going to continue as a profession, they must keep the artistic and cultural standards high.”

Dalby still frequently returns to Japan for talks and engagements, but says that her home is now America. Does she miss being Ichigiku when she’s away from Japan? “It’s always a wrench readjusting, but I have to say it’s getting easier as I get older, “she says. “I think I have a Japanese self and American self - and that’s just fine.”

Monday, October 4, 2010

Japan Times: Women of quiet strength




Friday, Sept. 24, 2010

Women of quiet strength The subtle power of feminine beauty roars from the canvases of Shoen Uemura

By JEFF MICHAEL HAMMOND
Special to The Japan Times

Female artists play a significant role in Japan's art world today, but a century ago, only a few women made a mark in the then male-dominated field. Shoen Uemura stands out as one of the most successful, a status she earned through the relentless study and perfection of her chosen theme of bijin-ga — pictures of beautiful women.

News photo
Lady in color: "Sound of the Tabor" (1938) from a private collection COURTESY OF THE NATIONAL MUSEUM OF ART, TOKYO

"Uemura Shoen," at the National Museum of Modern Art, Tokyo, revisits the artist's career by showing around 90 paintings, which are complemented by more than 30 rarely exhibited sketches.

Uemura was born as Tsune Uemura in 1875. Her father having died just two months earlier, she was brought up by her mother, who ran a Kyoto tea shop. While her mother served the customers, the young Uemura drew pictures in a corner of the shop.

Even before she began formal art training at age 12, her pictures had earned her a reputation among the shop's customers. By age 15, she was exhibiting her work and went on to win not only awards in official art contests but also commissions from private patrons.

Though the subjects of bijin-ga woodblock prints were usually courtesans, Uemura portrayed ordinary women, either dressed up to go out or pictured in private, domestic moments.

She also painted a number of pictures inspired by female characters in noh theater. Such roles were usually performed by men, but Uemura had women recreate the poses for her works. The model for one of her best-known of these works, the impressively large "Jo-No-Mai," is said to have been her daughter-in-law, who poses in a confident and dignified manner, her vivid orange kimono dissolving into a luminous cloud pattern at the hem.

The majority of Uemura's work, however, shows women out and about in all their finery. Again, her great care in color choice for the kimono and obi and her attention to the design and texture of different fabrics give such works a charged vibrancy.

News photo
Seasonal elegance: "Springtime of Life (Bride)" (1899) COURTESY OF MEITO ART MUSEUM COURTESY OF MEITO ART MUSEUM

In "Snowflakes" (1944), Uemura positions the figures of two women in the bottom left corner and leaves the rest of the frame empty, apart for the occasional snowflake, to suggest depth. This uncluttered background — common to most of her pictures — allows the figures to stand out all the more. The parasols are rendered as broad, flat shapes in muted hues, so as not to distract from the faces of the women and the vivid coloring of their kimono.

Uemura took great delight in portraying women in different outfits accentuating the seasons of the year, be it a leisurely spring stroll or a battle against elements. In the humid summer months, the season is alluded to by a fan held by the main figure or through another motif within the picture, as in "Firefly" (1944) — the tiny insect being a harbinger of early summer. In "Women Walking Against a Snowstorm" (1911), two young ladies are hit by a strong gust of wind, and Uemura captures the flowing shape of the wind-swept garments with highly expressive outlines in ink — a rather rare example of dramatic action in her work.

One curatorial coup of the exhibition is its coupling of two works, similar in theme or composition, to facilitate comparison. This comes into play in a pair of paintings titled "Sound of the Tabor." Uemura first sketched her compositions on large paper sheets called shita-zu. Placed under the paper to be painted on, they allowed the outlines to be easily copied later to execute variations on a composition. The two paintings depict a rich merchant's daughter the moment after she hits a handheld drum. There is nothing wrong with the first painting, completed in 1938, but one can see why Uemura returned to it in 1940. The later version has a more satisfactory color balance, which brings the composition to life.

In "Listening to the Songs of Autumn Insects" (1907), a young lady in a purple-blue kimono and orange obi peeps out from behind a bamboo screen. The parts of her figure shown through the screen are rendered in subdued tones, emphasizing depth and atmosphere. The artist exaggerates the same effect in "Yang Guifei," which marked a comeback after a slump in her career that lasted several years. A maid fixing the hair of the famed consort to the seventh Emperor of the Tang Dynasty is shown faintly from behind a paper screen, which allows full attention to be paid to the clear and vivid beauty of her mistress.

Uemura was working at a time when Japanese art was going through a period of questioning and some great upheavals. While many artists began producing Western-influenced oil paintings, Uemura stuck to iwaenogu (mineral pigments) and Japanese themes. She strove to invoke dignity in her beautiful women, but a certain distance from her subjects also invited charges that her women resembled porcelain dolls rather than beings of flesh and blood.

This criticism is perhaps valid, though in numerous pictures Uemura succeeded in expressing feelings of quiet strength and other emotions, albeit in her own delicate manner. Toward the end of her life she depicted some of her childhood memories of her mother. In one graceful work from 1943, for example, her mother is seen fixing the paper on shoji doors; in another she threads a needle by the light of the fading evening sky.

Uemura died of cancer in 1949, one year after becoming the first woman to be awarded the Order of Culture.
"Uemura Shoen" at The National Museum of Modern Art, Tokyo runs till Oct. 17; admission ¥1,300; open daily 10 a.m.-5 p.m. (Fri. till 8 p.m.). For more information, visit www.momat.go.jp/english/artmuseum/ index.html.

Japan Times: Kimono in space

Friday, April 16, 2010

Yamazaki serves up hand-made sushi on ISS

HOUSTON (Kyodo) Astronauts Naoko Yamazaki and Soichi Noguchi have asked their colleagues aboard the International Space Station to try out some hand-rolled sushi.

News photo
Zero-G snack: Astronaut Naoko Yamazaki (in kimono) makes sushi with astronaut Soichi Noguchi on the International Space Station in this photo released by NASA on Wednesday. KYODO PHOTO

Images issued by NASA on Wednesday showed Yamazaki in a pink kimono putting rice on dried seaweed and handing the sushi rolls to her fellow astronauts.

While a few bits of rice drifted away in the space station's zero-gravity environment, Noguchi caught them in midair with his mouth.

Noguchi said before his departure in December that he would make sushi in space, and NASA allowed him to bring freeze-dried scallops and tuna to the orbiting facility.

Since docking with space shuttle Discovery, the ISS has developed a mechanical problem in one of its two cooling devices, the National Aeronautics and Space Administration said.

The glitch will not affect the station's operations, but it requires a quick fix that might delay Discovery's return Monday by a day or so, NASA officials said.

The shuttle blasted off from Kennedy Space Center in Florida on April 5 for a 13-day mission. The shuttle and its seven-strong crew were originally scheduled to return to Earth on Sunday but delayed departure until Monday to fix its antenna.

Yamazaki is among Discovery's seven crew members. Astronauts and cosmonauts on the shuttle and the ISS were trying to wrap up the transfer of equipment and science experiments between the two vehicles.

Japan Times: Kimono like never before

Sunday, March 21, 2010

Kimono like never before

By JAE LEE
Staff writer

In 1974, Hideko Kariya represented Japan in the Miss Internationals finals, a beauty pageant that started in California in 1960 and moved to Japan in 1968. She placed fifth. Then, in 1981, she married into a family than ran an ever-expanding empire of more than 100 kimono stores across Japan. But as the economy boomed, and with it the family business, Kariya humbly remained at home, Cinderella-like, raising two sons.

Sitting pretty: Hideko Kariya in her Hideya store in central Tokyo surrounded by some of the many beautiful garments she sells, both of the traditional variety and others using Velcro fastenings to significantly speed up the long business of getting attired. PHOTOS:YOSHIAKI MIURA

In the early 1990s, though, Japan's economic bubble burst and consumers across the nation suddenly tightened their collective obi. The Kansai area - based family kimono corporation Kariya had married into was hit hard from the start of that drastic downturn and began to crumble before eventually collapsing.

After that, Kariya and her husband opened a new kimono shop, in the Jimbocho district of central Tokyo, in 2005, and she suddenly found herself in the position of being an okami (female shop owner), with a steep learning curve ahead of her.

However, she learned fast, and after three years she recalls how she had developed a fascination for kimono as couture garments — though she couldn't stand the constant collisions that occurred between her feelings and the traditional ways her husband had been born into and couldn't see beyond.

But as Kariya had learned by then, the kimono business — in origin and to this day — is a very masculine one. "It started with Bushido (the samurai code of chivalry) and their kamon (family insignia)," Kamiya explains. "Its origin was very closely tied in with political power."

In contrast to Kariya's passion for kimono as couture, she tells how her husband regarded them more as trophy items he liked more the higher their price.

Back in the days, the family company owned a rather luxurious hotel in Kyoto where they exhibited their range of kimono and invited costumers to stay — which Kariya learned was a common sales approach adopted by traditional kimono companies.

However, she soon saw through the refined veneer.

"It was not only a traditional way of selling kimono by pampering the costumers," she explains, "because the aim was to make costumers compete among themselves and see who was wearing what and who was buying which one. I once saw a costumer buy a ¥30-million kimono on the spot."

Finally, in 2009, the strains got too much and Kariya separated from her husband and opened a store of her own, named Hideya in the Denenchofu area of Oota Ward in Tokyo.

She says of that step out on her own: "I wanted to approach the custumers in a more friendly way, like a local grocery vendor would." And now, free of any obligation to tradition, she happily describes herself as "the new kid on the block" — free to approach kimono in the way she wants: as a genre of couture.


On show: Hideko Kariya poses in street chic beside a beautiful length of kimono material on display in her Tokyo shop.

"A kimono can be very expensive, but I'm not critical of their prices or trying to change that image. Sometimes it may take a kimono-maker about a month to weave just 20 cm of an obi belt, and about a year to finish it. Obviously, time like that is quite big money."

Equally, Kariya is aware that the popularity of formal silk kimono — as opposed to the light, cotton yukata that have been all the rage these last few summers — is on the wane, and she's keen to do all she can to keep the tradition alive. However, she doesn't believe that preaching about tradition or harking back to the unbending mores of times gone by will do anything to help kimono and the new rising generations get along.

"A kimono is expensive and difficult to wear, but if that's killing the popularity, why not get rid of some parts of it to better fit the times?" Kariya inquires.

Among the "rebel" designs Kariya has created, one of them in particular confronts the mystique of kimono- wearing head on. With her Velcro kimono, rather than wearers needing to attend classes, as many do — and then even still require assistance — to simply dress themselves in the many layers of gowns and underskirts, the whole operation is cut down to a matter of minutes.

And — surprise, surprise — the idea for the Velcro kimono range that Kariya sells at Hideya came from a regular customer who is a member of the Imperial family. That customer, who is often in the media spotlight, explained that she liked to wear kimono on public occasions but simply didn't have the 40 minutes to an hour it normally takes to get dressed in one.

As a result, Kariya first made that customer a black kimono for funerals — with hidden Velcro tapes. Delighted, her upper-crust customer told her how, though it is acceptable nowadays to wear a Western-style black dress on official Imperial occasions, she personally far preferred a traditional kimono and this new-style garment was a dream come true.

Now, thanks to the magic of the hidden Velcro tapes, that busy Imperial family customer — or anyone else — only needs to take 10 minutes to dress perfectly in Japan's gorgeous, signature garment for women.

For Kariya, that's a huge, happy step on the way to realizing her dream of helping to fuel a kimono revival no matter how busy — or Imperial — the wearer may be.

For more information on Hideya, visit www.hideya.co.jp/ (Japanese only).

Japan Times: Makers of traditional cotton textiles

Wednesday, Jan. 13, 2010

Makers of traditional cotton textiles aim for markets abroad


By SATOSHI IIZUKA
Kyodo News

KITAKYUSHU — Kitakyushu, with its eyes on foreign markets, is reviving the manufacture of a once-vanished traditional cotton textile.

News photo
Fashion revival: A woman arranges machine-woven Kokura-ori fabrics at a Kokura Creation Inc. shop in Kitakyushu last month. KYODO PHOTO

Kokura-ori is a strong but soft cotton fabric with vertical stripes of alternating colors. The weaving originated in the Buzen Kokura region during the Edo Period (1603-1867) in northern Kyushu.

The fabric was widely used for obi, "hakama," a kind of skirt for men, and various other items when kimono were the daily clothing.

So common as men's everyday clothing were hakama made of Kokura-ori that they receive a mention in various works of literature, including Natsume Soseki's "I Am a Cat."

The stripes are woven colored threads. Because the vertical threads are three times thicker than the horizontal ones, the stripes stand out clearly.

After the art almost vanished in the early Showa Era, Noriko Tsuiki, a dyeing and weaving artist in Kitakyushu, revived it in 1984 after a two-year period of trial and error.

"I wondered aloud, 'Is this cotton or silk or what?' because it was smooth and had a glossy surface," recalled Tsuiki, 57, of her first impression when she came across a small piece in an antique shop.

"I'm sure Kokura-ori will be accepted globally, because European people love fabric. Although there are many striped fabrics in the world, Kokura-ori is unique in its great design," Tsuiki said.

She runs a crafts center in a rural area in Kitakyushu where she produces handwoven products.

Kokura Creation Inc., led by President Hideko Watanabe, the younger sister of Tsuiki, deals with a variety of woven products, including purses and card cases.

Tsuiki has succeeded in developing a mechanical weaving process to produce items in large volume.

The company has taken part in trade fairs in Frankfurt and Paris since 2008 and received orders from a distributor in Switzerland.

Original products like table mats and wrapping cloths are also sold in Japan, though in limited number.

The Kitakyushu Chamber of Commerce and Industry set up a committee last month to study the tastes and preferences of consumers abroad to come up with products that will suit the world market, thanks to a subsidy from the Small and Medium Enterprise Agency to foster new Japan brands. Kokura Creation says it is ready to help the project.