Item description for Memory on Cloth: Shibori Now by Yoshiko Iwamoto Wada...
Shibori is infinitely more than the tie-dye that became well known in the late 1960s. Shaped-resist dyeing techniques have been done for centuries in every corner of the world. Yet more than half of the known techniques-in which cloth is in some way tied, clamped, folded, or held back during dyeing, to keep some areas from taking color - originated in Japan. Shibori can be used not only to create patterns on cloth but to turn fabric from a two-dimensional into a three-dimensional object. The word is used here to refer to any process that leaves a "memory on cloth" -a permanent record, whether of patterning or texture, of the particular forms of resist done. In addition to traditional methods it encompasses high-tech processes like heat-set on polyester (made famous by Issey Miyake's revolutionary pleated clothing), melt-off on metallic fabric, the fulling and felting that make it possible to turn all-natural fabrics into three-dimensional shapes, weaving resist (in which, for instance, a warp thread can be pulled to gather the cloth to resist dye), and devoree, in which just one part of a mixed fabric is dissolved with chemicals. Author Yoshiko Iwamoto Wada has been teaching shibori around the world for nearly thirty years, and helped to establish the World Shibori Network and the International Shibori Symposium. She coauthored in 1983 the authoritative Shibori: The Inventive Art of Japanese Shaped-Resist Dyeing, which in turn inspired many artists to add shibori processes to their repertoire. The range of vibrant modern art covered in Memory on Cloth is remarkable, and includes work by artists from Africa, South America, Europe, India, Japan, China, Korea, the United States, and Australia in more than 325 stunning photos and illustrations. It encompasses fabric design, wearable art and fashion, and textile art or various sculptural forms. The work of more than seventy innovative designers including Issey Miyake, Yohji Yamamoto, Jurgen Lehl, Jun'ichi Arai, Helene Soubeyran, Genevieve Dion, Asha Sarabhai, Junco Sato Pollack, Ana Lisa Hedstrom, Marian Clayden, and Carter Smith is presented, and each artist shares details on the processes that they themselves have created, making this an invaluable reference for artists in every field. A number of innovative artists who combine shibori techniques with knitting, weaving, or quilting are also included, suggesting new ways to combine innovation with more traditional forms. A final section on modern techniques gives extremely detailed information, including dye recipes, on various high-tech processes and the particular methods that individual artists use to achieve certain effects. As informative as it is inspirational, Memory on Cloth will take its place alongside Wada's earlier work, Shibori, as a definitive text that will help keep shaped-resist dyeing processes a vibrant and important form of modern art. Features * More than 325 stunning photos and illustrations * Encompasses fabric design, wearable art and fashion, and textile art or various sculptural forms * Covers more than seventy innovative designers * Includes works by artists from Africa, South America, Europe, India, Japan, China, Korea, the United States, and Australia * Each artist shares details on the processes that they themselves have created Praise for Shibori (co-authored by Yoshiko Wada): "In this age of hyperbole there is great risk in declaring a singular event. Nonetheless one has occurred with the long anticipated publication of Shibori: The Inventive Art of Japanese Shaped Resist Dyeing. Word of this book has long circulated in the inner and outer sanctums of the textile world with excitement and expectation building. This combination of bilingual, scholarly, creative and resourceful authors has brought us a classic volume . . . A masterful blend of historical material that puts Japanese textiles in context, clearly described and illustrated techniques along with information and illustrations of contemporary work from Japan and the West make this book an essential acquisition for anyone who proclaims a serious interest in textile dyeing, design, or historic textiles." ?Glen Kaufman, in Surface Design Journal "Well researched, well written, well organized and well illustrated." ?Crafts Magazine
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Est. Packaging Dimensions: Length: 1" Width: 9" Height: 11.75" Weight: 3.5 lbs.
Release Date May 31, 2002
Publisher Kodansha International
ISBN 477002777X ISBN13 9784770027771
Availability 0 units.
More About Yoshiko Iwamoto Wada
For nearly thirty years, surface-design artist, curator, and textile researcher YOSHIKO IWAMOTO WADA has been teaching shibori, first in Berkeley, California and then around the world. Many who took her classes went on to become artists and teachers themselves, and thanks to Wada's efforts the field has expanded geometrically over the course of a single generation. In 1983 she also coauthored, with Mary Kellogg Rice and Jane Barton, the definitive book in English, Shibori: The Inventive Art of Japanese Shaped-Resist Dyeing. As Jack Lenor Larsen puts it in his foreword to Memory on Cloth, "Through her first book, Shibori, and through her exhibits, lectures, and personal persuasion in every communication medium, Wada has single-handedly changed our field and its language." Because of her commitment to keeping shibori traditions alive, the word "shibori" has now become universally accepted as the term for shaped-resist processes. Wada continues to travel the world searching for shibori innovations and outstanding artists.
Reviews - What do customers think about Memory on Cloth: Shibori Now?
Memory on Cloth: Shibori Now Apr 3, 2008
I just took a workshop with Yoshiko Wada, the author of this book, and she used it extensively as a reference. Much of what we did in the class is detailed in the book and I am going to use it to keep working on many of the techniques on my own. I feel that the instructions are clear and the illustrations helpful. There is a wealth of information in the book, and I enjoyed how Yoshiko Wada applies the techniques and concepts of traditional Japanese shibori to contemporary materials and new methods. If you are interested in textile design, shibori, dyeing, or fashion, you will enjoy this reference.
Beautiful pictures, not for instructions Jan 4, 2007
I was hoping for more instructions on how to create shibori pieces...this is not the book for that.
Wow!! Mar 13, 2006
This is some book. This goes beyond your normal techniques. It was mindblowing with the endless possibilities for manipulation of all sorts of fabrics.
The best book that's been done about contemporary shibori Nov 15, 2002
Shibori is the Japanese word for resist-dyeing. There are three shibori techniques: tie-dye (those Sixties hallucinoform tee-shirts); clamp-resist (being pressed between two boards or tied tightly around a pole), and wax-resist (batik). It is an extremely old technique, perhaps the first to impose upon cloth a pattern that wasn't woven there.
Fragments of shibori-like textiles found in Africa date from as far back as 700 BCE. Purely Japanese textiles date from the Yayoi period (200 BCE-250 ACE). Yayoi people wove garments on portable looms. The making of cloth depended not so much on the mass of the wearer's body as on how the movement of the wearer's body will determine what the loom must do. In Yayoi times weavers used portable loom that could be easily set up by tying one set of warp ends around the waist and the other to a tree. The weaver's body width fixed the width of the fabric. That most Yayoi textiles were about twelve inches wide says much about the size of the Yayois.
Japan did not embrace clothing as an expression of social delineation until the Asuka period (552-645), an era when Chinese crafts, and customs were eagerly imported. Over the centuries, surface designs became steadily more complex as garment silhouettes became steadily more simple. These tendencies merged into the kimono and have stayed there ever since. With the xenophobic policies of the Tokugawa Shogunate, all things foreign were shunned. The Japanese turned inward to their own tastes and aesthetics.
By the Edo period (1600-1868), complex layerings of color, patterns, and resist dyes all contributed to a great culmination of textile design. Into the canons of design came surface complexity ranging from colors so saturated they dazzle the eye to so subtle they are almost indistinguishable. Japanese textile art embraced a dozen or more dyeing techniques, embroidery and appliqué, painted pictures, hammered gold and silver patterns, calligraphy. Out of these chirped an aviary of decor-plum blossoms, pine boughs, flowers on trellises, rice sheaves, snowflakes, paired shells, swallowtail butterflies, quince flowers, waves, interlocked squares, medallions of chrysanthemum and wisteria and gentian, cranes, lightning, hemp leaves, scrolls of peony, woven circles, basket work, fish scales, mountains, clouds, flowing water, waves, checkerboards, circles.
In the wrong hands such a tumultuous vocabulary would end in chaos. But from the great costumes of the Noh to the hundreds of treatises on kimono design to be found in Japanese bookstores and libraries today, there always existed in the Japanese garment imagination a more fundamental quality: drama. It is no surprise to find that the garment's greatest period of elaboration came after it was adopted as the principle costume by groups of itinerant entertainers who evolved into the most enduring of Japanese theatrical styles, the Noh.
The Memory on Cloth story begins after World War II. Before the War, textiles and garments were major engines of Japan's economy-the equivalent of transistor products and autos today. The quaint, consuming, painstaking art of shibori was nearly extinct by the 1960s. Modernity-craving Japanese put their old kimonos into the tansu and bought Missoni and Prada and The Gap. Shibori's spiritual home, in Arimatsu and Narumi on Honshu island, was ignored even by the railways, which built no sidings there. Too few fabric dyers were left to fill a boxcar with goods.
But valiant was the tenacity of the industry. Arimatsu-Narumi's response was to invent. When the market for kimonos dwindled, they made neckties. Even so, by 1972, one of Japan's oldest industries had dwindled to two elderly practitioners. Then along came people like Yoshiko Iwamoto Wada, one of so many artists who bootstrapped ancient crafts out of extinction by globalizing them in the same positive way that world fusion music has globalized innumerable melody forms. Shibori was turned around. Today it is an internationally recognized art form.
It also can be a vibrant modern art form. Memory on Cloth features work by artists from Africa, South America, Europe, India, Japan, China, Korea, the USA, and Australia. It encompasses fabric design, wearable art and fashion, and textile art or various sculptural forms. Described are works by more than seventy innovative designers, including Issey Miyake, Yohji Yamamoto, Jurgen Lehl, Jun'ichi Arai, Helene Soubeyran, Genevieve Dion, Asha Sarabhai, Junco Sato Pollack, Ana Lisa Hedstrom, Marian Clayden, and Carter Smith. Each artist shares details on the processes they have created, making this an invaluable source of inspiration for artists in fields outside of textile design.
Japan never made a distinction between craft and art. Indeed, even in the West that demarcation arose only over the last few hundred years as a manifestation of the post-Renaissance preoccupation with individuality. In Japan the unity of art and craft was not because Japanese textile makers shunned egocentrism, but because of their tendency to focus on process more than product. The Japanese Zen garden of raked stones is Exhibit A in contemplative surrender to process.
Like so many arts that globalization salvaged at the edge of extinction, shibori inspired a modern revival laden with legend and freighted with technique. The progress of Japanese textiles is stuttery, sitting in place one moment, leaping forward the next, the artists either appropriating or inventing as chance comes calling. The result is a continually evolving collaboration between past and future. Today's mingling of synthetic and natural fibers, organics and metals, hand and machine, are in keeping with the try-anything heritage of the country's garments.
Yoshiko Wada is an endearingly good writer: lucid, logical, tight, to the point. She teaches shibori aesthetics and techniques in her home city of Berkeley, California, and around the world. Thanks to her, shibori was transported to Africa and inspired a vibrant local industry in Mali and other Sahel countries. Of her it can truly be said that the word `shibori' is now an international currency.