The two pieces of mid 19th century hand spun and hand woven cotton shown above are dyed using benibana or safflower. This flower in the thistle family is used to dye cotton and silk a range of colors from light pink to deep red. As benibana dyed fabrics age they begin to turn a more brown or rust color like the pieces in this post.
both of the fabrics shown here has been pattered using a katagami, or paper stencil used to apply rice paste to the fabric as a resist before dying. These stencil dyed fabrics are known as katazome.
I recently found this beautiful 19th century indigo dyed fabric that was more than likely used as a furniture cover. These were traditionally made for a wedding and often display the brides family crest. The hand spun cotton thread lends texture to the fabric. The design was worked using a rice paste resist and a method known as tsutsugaki. The light blue of the family crest is known as kame nozoki, or peeking in the vat. The fabric was first dyed with a yellow dye and later over dyed with indigo to create the beautiful green color. In the close up photos you can see the yellow dye that seeped under the resist paste. The last photo shows one of the corners where the yellow dye is also visible. I would guess that the yellow was obtained from gardenia seed pods.
This small two panel furoshiki was probably part of a set of three or four and has been decorated with a family crest indicating it may be part of a traditional wedding dowry. It dates to the late 19th century and is made of hand spun and hand woven cotton. The color is a worn grey which I think may have been obtained by using sumi ink as a dye. The small tsutsugaki pine tree design in the corner is wonderfully simple and sweet.
This small kimono for a baby was made out of old material called boro or “rags” pieced together to make usable fabric. The boro material was intended to be the liner but, I have decided to show it off as the shell. the boro material probably came from an indigo dyed tsutsugaki furoshiki or “free hand resist dyed carrying cloth”. These were traditionally given in sets to a new bride and groom and were often dyed with the families mon or “crest”. I love the idea that the newlyweds used it until it became tattered and then remade it into clothing for one of their children. The outer fabric shown below as the liner has a design of small dogs. This fabric was factory made and was meant to replicate a double kasuri or “ikat” material. This fabric shows patches that do not make their way through to the lining material meaning that this material had been used and repaired at the time that it was made into this garment. More than likely it was also a hand me down.