Produced with Scholar
Icon for Japanese Textiles

Japanese Textiles

Traditional and Contemporary Dress and Dyeing Techniques

Learning Module

Abstract

In this module year 9-10 students look at traditional Japanese dress, fashion sub cultures, fabrics, and traditional and modern dyeing techniques. The students identify the features of traditional Japanese costume and understand how it can be transformed into contemporary garment designs. Students learn traditional dyeing methods and apply their understanding of traditional Japanese design through the construction of a Japanese inspired cushion.

Keywords

Japanese Textiles, Fabric Colouration, Dyeing Techniques, Traditional, Contemporary, Design, Cushion, Sub-Cultures.

Knowledge Objectives

This learning module is based on the ACT Curriculum Framework: Every Chance to Learn.

As a result of completing this learning module, students will be able to: 

EXPERIENTIAL OBJECTIVES

ELA 5: The student contributes to group effectiveness

5.LA.1 Explore their own preferred role in a group, through experiencing a variety of roles, and reflect on the effectiveness of their participation in this role to achieve the group goal

5.LA.2 Explore different leadership styles and their application in different contexts

5.LA.3 Undertake a range of specific roles in formal groups or teams

5.LA.5 Provide useful feedback to their peers in a timely, considerate and respectful way

ELA 7: The student creates, presents and appreciates artistic works

7.LA.13 Use research about the history, politics, society, literature and artistic works of a particular time or culture in order to form deeper understandings of specific artists and artistic works

CONCEPTUAL OBJECTIVES

ELA 7: The student creates, presents and appreciates artistic works

7.LA.2 Understand how artistic works contribute to the social and cultural life of Australia

7.LA.5 Understand technical terms (eg elements, concepts, forms) and structural principles (eg composition, perspective) appropriate to the art form

7.LA.12 Interpret distinctive features and elements of particular artistic works and discuss their interpretations in relation to those of others

ANALYTICAL OBJECTIVES

ELA 7: The student creates, presents and appreciates artistic works

7.LA.1 Understand how artistic works may reinforce or challenge social and cultural beliefs (eg. the depiction of stereotypes, relationships, social issues and political debate through artistic works)

APPLIED OBJECTIVES

ELA 7: The student creates, presents and appreciates artistic works

7.LA.6 Develop ideas for their own artistic works, drawing on the world around them and on the artistic works of others

7.LA.8 Create their own artistic works in a chosen art form by applying specific skills, techniques, concepts and elements of the art form

7.LA.9 Interpret current issues, ideas and events through making their own artistic works

7.LA.10 Perform or present artistic works to an audience and reflect on and discuss their own artistic choices

7.LA.13 Use research about the history politics society literature and artistic works of a particular time or culture in order to form deeper understandings of specific artists and artistic works

ELA 25: The student designs, makes and appraises using technology

25.LA.1 Implement the design process (e.g. identifying needs and opportunities in establishing design criteria; planning and managing time, resources and risk; evaluating design ideas and procedures; appraising design solutions against criteria) 

25.LA.5 Create a design solution to meet an identified opportunity or need

1. Introduction to Japan

For the Student

What do you know about Japanese culture?

Use a mind map to record what you know about Japanese culture. Pair up and share mind maps. Build up your mind map with your partners ideas.

Write a reflection in work books. 

Comment: What are the benefits of combining the imagery and designs from many cultures to create a fabric or garment?

Fig. 1: Traditional Japanese Kimonos.

For the Teacher

Introduction questions

Students write a reflection in their books on what they already know about Japanese culture.

Prompting ideas could be manga comics, computer games, books, etc.

This activity is to value prior knowledge. 

The next activity provides some baseline evidence of student learning. You could repeat this a few times and as a reflection at the end of an activity.

Use a Think-Pair-Share to prompt beginning thinking about imagery and design from other cultures.

Resources

Meaning of Traditional Colours

2. Thinking about Imagery and Design from Other Cultures

For the Student

Look at the Japanese Street Fashion clip.

What did you like?

What didn't you like?

What did it remind you of?

Use Think-Pair-Share strategy.

Comment: Share one idea from your discussion. Then comment on other students' comments.

Fig. 2: Japanese Street Fashion Clip

For the Teacher

Show a you tube clip of Harajuku fashion.

Harajuku Fashion

Japanese Street Fashion

Ask students open-ended questions and use Think-Pair-Share strategy.

3. Looking at Examples of Asian Fashion and Textiles

For the Student

Elements of design. Draw a table in your book and in each box write the answers to each question.

Choose a picture and then list words that describe the elements that you see.

What words describe texture?

What words describe line?

What words describe shape?

What words describe colour?

What words describe pattern?

Add to your list words that other groups find.

Timed activity - Pass fabric samples around to small groups and discuss colour, line and shape. Place post it notes on fabrics (2 per group) highlighting different elements of design.

Comment: Share one new observation about Japanese Textiles. Then comment on other students' comments.

Street_fashion_-_reinventing_kimono.pdf
Fig. 3: Harajuku Kimono Street Styles

For the Teacher

Bring in a selection (at least 7) of large pictures of 'Japanese street fashion'.

Choose one picture and model for the class naming the elements of design that are visible in that picture.

Let students choose one picture per group and they need to list words to describe the elements of design in that garment. This should take 5 minutes.

Use numbered heads to get each group to report their findings, and write up on board.

To help explain the elements of design you could also bring in example fabrics for pattern gradation in shapes, plaid pattern and random pattern to help illustrate point.

example answers:

texture - loopy, fuzzy, furry, soft, shiny, rough, bumpy

line - structural, decorative, straight, curved, rigid, strong, crisp, soft, graceful, elegant, calm, refined, dramatic, movement

shape - geometrical, natural, gradation - small shape to large

colour - complementary, monotone, analagous, gradation, bright, dull, warm, cool, contrast, neutral

pattern - busy, even, colourful, repetition, rhythm, random, large images / small motifs

Japanese fabrics. Allow students 2-3 minutes with each fabric. Encourage discussion before recording it on post it notes.

4. Predict How the Fabric Colouration is Done

For the Student

In groups predict how the fabrics have been coloured.

You have 3 minutes in your groups to discuss and formulate your ideas, and 2 people from each group will present to the class.

For the Teacher

Theorise Fabric Colouration method

Students brainstorm how the fabrics are constructed. Encourage the students to fold the fabrics and draw diagrams.

5. Elements and Principles of Design in Japanese Fabric Designs

For the Student

Design element used What it looks like What effect it has Idea for how you might use this element in a design
e.g. line thin lines which are swirly elegance, motion make a fabric with many small swirls to create a cloud like sky
Fig. 4: Japanese Fabric Design.

For the Teacher

Students look at fabric samples and analyse the samples through the elements of design.

Students choose 2 elements and complete the table. In the fourth column they also need to draw a small diagram

If this activity is too difficult, then do the 3rd column collaboratively, either in groups or as a whole class, with all recording responses.

6. What Else Do You Know?

For the Student

What else do you know about traditional/old Japanese clothing?

Can you think of any old clothing styles where they use this type of fabric?

Use Think-Pair-Share and then collaboratively create a class mind map on the board or using a mindmapping tool such as Simple Minds or Poplet.

Fig. 5: A traditional red Uchikake kimono with cranes.

For the Teacher

Finding Out about Kimono

Ask questions about background knowledge.

Refer to films, books, magazines or what they have learnt previously in their Japanese language class.

This is a very quick activity. It builds up or front loads information about traditional Japanese dress and engages students in the following activity.

By doing a class mind map, students with greater prior knowledge are supporting others.

7. 'Memoirs of a Geisha' Scene - What Did You Notice?

For the Student

Watch a scene from "Memoirs of a Geisha".

Respond.

Watch the scene again and individually record what you noticed about the kimono.

Discuss with a partner and share with class.

Comment: Respond to Powerpoint presentation in class discussion. What did you like? What was your favourite and why?

For the Teacher

'Memoirs of a Geisha' scene

Show a scene from "Memoirs of a Geisha" where she is getting dressed in her Kimono for the first time.

Once shown, ask what they thought about the scene. Discuss in class.

Replay the scene use a Think-Pair-Share strategy on 'What did they notice about the kimono'?

They should record information like the restrictive qualities of the kimono, the colours and patterns of the fabric, the layers, the accessories, the rustle of the fabric etc.

Now show powerpoint presentation with images of Kimonos. Use open-ended questions to get personal responses.

8. Kimono Research Project

For the Student

Watch powerpoint presentation on Japanese Kimono and complete research task.

Research questions:

Post a picture of your chosen Kimono and describe the shape of the Kimono using the elements of design.

What accessories or other clothing is traditionally worn with the Kimono?

On what occasions are Kimonos worn?

Is there a difference in Kimonos worn by men and women?

What is the name of the Kimono worn by unmarried women? How is it different to Kimono worn by married women?

Imagery on kimonos have complex levels of meaning. Give an example of some imagery you might see on a kimono and what it means.

Colours in the Kimono have strong cultural meaning. Give an example of a colour used in a kimono and what cultural meaning it has.

Think about colours we wear in Australia for cultural events. Give an example of a colour worn at a particular event and what it stands for.

Japanese_design_influence.pdf
Fig. 6: Modern Fabric in a Kimono

For the Teacher

Show powerpoint presentation on Japanese Kimono (5 slides). Discuss the structure of the Kimono and the fabric that it's made from.

Students then research the Kimono and complete the project in Scholar where they draft, give and receive feedback and revise their work before submitting it for publication.

Project Rubric

9. The Parts of a Kimono

For the Student

Look at a picture of a traditional kimono. In your table groups you will be given a time limit to identify the main structural features of the kimono which makes it such an inspirational garment.

Match the labels, definitions and the section of the costume. Glue into book.

For the Teacher

Distribute picture of kimono to each group with labels and definitions.

This is an important naming activity for the students to understand the key sections of the Kimono.

FURI - Sleeve below armhole

USHIROMIGORO - Back below armhole

SODE - Sleeve

ERI - Collar

OKUMI - Panel below the collar

MAEMIGORO - Front main section

OBI - wraps around waist

10. Making Comparisons between Old and New Designs

For the Student

Use a Venn Diagram to record differences and similarities between old and new Japanese designs.

Compare colour, shape, length, type of fabrics used, reason for wearing it - occasion, message, is it formal? elegant?

Comment: Does the colour represent the same meaning in the different cultures?

Is it important that designers take inspiration from the past?

Japanese_design_influence.pdf

For the Teacher

Show 'powerpoint' (slides 6-8) images.

Refer to 2009 June Vogue magazine - the revival of the Roman style toga to show how designers take influence from the past.

Resources

Texuba Art Motifs

11. Find Images, Post and Comment.

For the Student

Find examples of Japanese influences in fashion and design. Create your own Update in Scholar. Then reflect on your picture using 3:2:1: RIQ.

Comment: 3:2:1: RIQ

3 Recalls: You need to state 3 facts about your picture.

2 Insights: You need to give 2 insights. these could be about why your picture is relevant, who it affects, how it relates to you/ school / society, identify connections with other textiles or fashion.

1 Question: Your question could be:

  • I don't understand why..?
  • In the future, what will..?
  • What is the relevance of..?
  • How does this relate to..?

Once you have posted your picture and completed your 3:2:1; you need to comment on at least one other student's Update.

For the Teacher

Students research and find examples of Asian influences in fashion and design. They post image in an Update in Scholar and comment upon it using RIQ scaffold. Once posted they are to comment on at least one other post.

12. Kimono Structure

For the Student

Draw 2 designs for garments which draw influence from the Kimono. Articulate how you have taken influence from the Kimono. E.g. folding fabric, obi style belt.

For the Teacher

Students draw 2 ideas of a garment inspired by the Japanese kimono.

Give out worksheet which has figure drawn on it, which they can draw their design over the top of, and the question. How is your design influenced by the Japanese Kimono?

13. Japanese Contemporary Designers

For the Student

Comment: Respond to the designs: Do you like them, which is your favourite and why? Would you wear any of them? Why and why not?

japanese_contemporary_designers.pdf
Fig. 7: Modern Japanese Design.

For the Teacher

Show students the 'contemporary designers' and get them to respond in an open-ended way.

14. Jigsaw Expert Groups on Contemporary Fashion

For the Student

In your expert groups, choose one garment from selected images to describe using the elements of design.

Describe the garment discussing:

  • colour
  • shape of garment eg. collar, sleeves, skirt, pants
  • fabrics used - does it look soft, heavy, textured?
  • how would you describe the style? eg. conservative, punk etc.

Comment: What was your favourite? Provide reasons for your choice and refer to the elements of design.

For the Teacher

Jigsaw expert groups on contemporary fashion influenced by Japanese textiles

In groups, students identify what they see in the designs.

Students become experts on the design they have chosen, identifying the elements of design. They then need to display the pictures on the wall with their description.

15. Design Innovation on Contemporary Design

For the Student

In your expert groups change 2 design features eg. colour, shape of sleeve, fabric, and draw garment on paper to display next to orignal.

When designing your new sections, you can refer to kimono or contemporary designs for inspiration. Draw and collage ideas together, then nominate one person from your group to draw it on the drawing scaffold.

Discuss in expert groups how you are going to teach your work to the others in cooperative groups.

Place picture up on wall with your explanation, and then go back to your cooperative groups and take them on a gallery tour and explain your work.

Comment: Reflection - What happens when you create a new design? Provide an explanation of the innovation and its effects.

For the Teacher

Design innovation

Provide pictures of traditional kimonos and copies of garments for collage and garment drawing scaffold.

This activity is important so that students learn how to deconstruct a garment and how changing parts of a garment can change the message or overall look of the garment.

16. Analysing the Structure of the Garment

For the Student

Use the table to analyse the structure of the garment. Choose 2 structural elements to discuss.

Structural element (could be colour, section of garment) Effect
white fabric connects to culture - white is a colour for good luck associated to weddings and births
sweeping neckline revealing western style - different from Kimono which conceals the figure

Comment: What are the benefits of combining the imagery and designs from many cultures to create a fabric or garment?

For the Teacher

Using a jigsaw strategy in cooperative groups students need to analyse the structure of the changed contemporary garment using the table.

Give the students some examples.

Reflect again on the question from the beginning of the learning module.

17. Japanese Street Fashions

For the Student

Using Think-Pair-Share, answer the following questions:

How would you describe this fashion?

Do you like it?

Have you seen anyone dressed in this style in Canberra or anywhere in Australia? Why do you think this is?

Do you think Japanese people think differently about fashion to Australians? Why?

What does what we wear tell us about our identity?

Do you think it is rebellious or conforming? Are they conforming to be part of the group?

Who are they rebelling against or conforming to?

Who gains when they wear the traditional dress? Is it preserving culture?

Who loses when they wear traditional dress? Why?

For the Teacher

Show Powerpoint presentation on traditional and contemporary Japanese fashions.

Japanese Street Fashion

After viewing the Japanese street fashions video, students then answer the following questions, and start discussion.

Some background information on 'fruits magazine' which features Japanese street fashion.

An interview with photographer Shoichi Aoki

"The fashions featured in Fruits are inherently Japanese in its expression borrowing from traditional costumes and using Western fashions in an unconventional manner. How do you feel that followers in different countries are able to interpret that?

-- I do not think that Japanese boys and girls who are shown in the book are conscious about the traditional expressions borrowed. I think it just happens unconsciously.?I am also aware that the spirit of London's street fashion is a great influence."

18. Learning Shibori Techniques

For the Student

Watch demonstrations - record steps of processes in table.

KUMO - pleated and bound

NUI - stitch resist

ARASHI - diagonal pole wrap

ITAJIME - clamping

MIURA - looped binding

________________ TECHNIQUE

1
2
3
4
5
6
7
8

PROCESSES FOR SHIBORI

POLE WRAPPING SHIBORI:

You need a length of PVC pipe. Traditionally, Japanese shibori artists would have used bamboo lengths.

Attach one corner of the fabric onto the end of the pipe using sticky tape. Wrap the fabric around the pipe so it is flat and with as few creases as possible.

Secure the parts of the fabric furtherest from the tape with straps to keep them out of the way.

Next, tape on an end of cotton thread and then start wrapping them thread tightly around the pipe and over the fabric. The thread should be evenly spaced about 6mm apart. When you have wrapped on about 10cm over the cloth, secure this end of the thread with some masking tape.

Now, put the end of the pipe on the bench and scrunch down the fabric that has been wrapped with thread. Scrunch it down as tightly as possible. Put the pipe back in a horizontal position, remove the tape (on the working piece of thread) and wrap another 10cm or so, tape that end of thread, scrunch down the thread and fabric and continue this process until your length of cloth has been scrunched down to a very compact length.

Spray the fabric with a bottle - making sure it is wet before you begin dyeing.

Place pipe and fabric into dye bath.

Liquid radiance option -

Paint fabric.

Wrap pole when wet.

Tie up with cotton as outlined above and scrunch it.

Place in sun to dry.

NUI

Draw your design onto fabric.

Use running stitch to stitch around your design - see demonstration.

Make sure you knot one end.

Once pattern is stitched into fabric pull up the threads form their loose ends. Make sure you tie it tight - it must look like a tiny tight mass of fabric.

Wet the fabric and place in dye bath.

ITAJIME

Fold fabric in different formations.

Place wood on either side and clamp together with G-clamps.

MIURA

Draw design onto fabric.

Use a piece of wire to help push the fabric through and bind the cloth using thread (do not knot).

Make sure your binding is tight.

You can use marbles and pieces of wood to help you bind areas (insert them in your folds).

Once finished binding, wet fabric thoroughly then place in dye bath.

Fig. 8: A Student's Tie-Dyed Cushion.

For the Teacher

Teacher demonstrates a selection of shibori techniques. - maximum 6 techniques

stitching patterns using running stitch; binding using thread; folding and clamping (2 samples); pole wrapping; marbles tied with rubber bands.

Discuss the ancient techniques of using indigo dyes and large vats of dye. Discuss how there are modern ways to achieve these techniques.

Hand out worksheet to students to record process.

INFORMATION ON TYPES OF SHIBORI

Kanoko Shibori

Kanoko shibori is what is commonly thought of in the 'West' as 'tie-dye'. It involves binding certain sections of the 'cloth' to achieve the desired pattern. While traditional shibori requires the use of thread for binding, crafts people in western civilization often use rubber bands. The pattern achieved depends on how tight the cloth is bound and where the cloth is bound. If random sections of the cloth are bound, the result will be a pattern of random circles. If the cloth is first folded then bound, the resulting circles will be in a pattern depending on the fold used.

Muira Shibori

Muira Shibori is also known as looped binding. It involves taking a hooked needle and plucking sections of the cloth. Then a thread is looped around each section twice. The thread is not knotted; tension is the only thing that holds the sections in place. The resulting dyed cloth is a water-like design. Because no knot is used, muirea shibori is very easy to bind and unbind. Therefore, this technique is very often used.

Kumo shibori

Kumo shibori is a pleated and bound resist. This technique involves pleating sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This technique is very precise in order to produce this specific design.

Nui Shibori

Nui Shibori includes stitched shibori. A simple running stitch is used on the cloth then pulled tight to gather the cloth. The thread must be pulled very tight in order to work, and a wooden dowel must often be used in order to pull it tight enough. Each thread is secured by knotting before being dyed. This technique allows for greater control of the pattern and greater variety of pattern, but this technique is also much more time-consuming.

Arashi Shibori

Arashi shibori is also known as pole-wrapping Shibori. The cloth is wrapped on a diagonal around a pole. Then the cloth is very tightly bound by wrapping thread up and down the pole. Next, the cloth is scrunched on the pole. The result is a pleated cloth with a design on a diagonal. The name "arashi" comes from the Japanese word for storm. The patterns are always on a diagonal in arashi shibori which suggest the driving rain of a heavy storm.

Itajime Shibori

where the cloth is first folded and then shapes are clamped on front and back before it is all dropped into a dye pot and the shapes resist the dye to leave patterns.

Resources

Burda Style

 Shibori Techniques

The Cutting Edge Fashion from Japan

The Cutting Edge Fashion from Japan - Teachers' Notes

Fruits: Tokyo Street Style

Japanese Street Style

Japanese Street Fashion

19. Cushion Design

For the Student

Use a class mind map to brainstorm ideas of how you could make a Japanese inspired cushion and what section of the kimono would be able to be used.

Fill out table for 2 possible influences.

INFLUENCE EXAMPLE EFFECT
eg. use of obi band around middle reminds viewer of kimono; draw attention to the centre of cushion
Floral design back of cushion Femininity

Use the 'cushion design scaffold' worksheet and draw 3 cushion design ideas. Remember it must be influenced by Japanese textiles/KImono.

Draw_3_ideas_for_your_cushion.doc

Draw your chosen solution and label it with all of the features. e.g. Gathered, pleated, hand stitched.

Describe how it is influenced by Japanese textiles/Kimono.

Fig. 9: A Student's Japanese Inspired Cushion.

For the Teacher

Encourage students to reflect back on their research, and previous design ideas for their cushion.

As a class, model the use of the influence, example and effect table. This will help them to start to choose what section of the kimono or garment they might use, and predict the effect of using this as influence.

Remind them of all of the work they have done to get to this point where they get to 'make'; and that they need to remember the previous information and transform it into their design.

Keep asking them to articulate how they are using Japanese influences.

"What fabrics designs are you using? How does that reference Kimono / Japanese street fashion?' etc

Questioning is really important - otherwise they will probably just make a cushion because it looks "nice".

20. Cushion Evaluation

For the Student

Write a reflection on your cushion. Discuss the process of making your cushion, and justify why you chose to design your cushion in this way. Discuss whether it is successful - why or why not?

Refer back to your Influence, example, effect table.

Comment: Which influences were effective? Why?

If you were to make another cushion, what influences would you add/ change? And for what effect?

Fig. 10: Example of a Student's Japanese Inspired Cushion

For the Teacher

The final reflection/comment is an important step for them to reflect on their creative choices.

21. Acknowledgements

The original version of this learning module was written by Joanne Robinson and Kim Smith.

Title: "Kimono-obicopy der" by Kimono-obicopy.jpg: User:Sl-Zigaderivative work: Pitke (talk) - Kimono-obicopy.jpg. Licensed under CC BY-SA 3.0 via Wikimedia Commons (Source); Fig.1: (Source); Fig.2: (Source); Fig.3: (Source); Fig.4: Photo by Jo Robinson; Fig.5: (Source); Fig.6: Photo by Jo Robinson; Fig.7: Photo by Jo Robinson; Fig.8: Photo by Jo Robinson; Fig.9: Photo by Jo Robinson; Fig.10: Photo by Jo Robinson.