Tanmono

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A diagram of an orange roll of fabric.
A tanmono on the roll
A diagram showing how a tanmono is cut into the pattern pieces for a kimono.
Cutting a kimono from a tanmono
A diagram showing how the pattern pieces of a kimono roughly folded into a kimono shape.
How a kimono is assembled from pieces cut from a tanmono

A tanmono (反物（たんもの）) is a bolt of traditional Japanese narrow-loomed cloth. It is used to make traditional Japanese clothes, textile room dividers, sails, and other traditional cloth items.

Tanmono ("

narrow widths most ergonomic for a single weaver[2] (at a handloom without a flying shuttle
).

Fibers

Tanmono may be woven of a variety of fibers, including silk, wool, hemp, linen and cotton. Polyester is also popular, as it is easy to wash at home.[5][6]

In the

bast fibers from wild plants. Wild fibers (nuno) include the inner bark of wild trees or shrubs (juhi), and grass fibers (sohi).[7]

Between the 2nd and 3rd centuries BC, immigrants from the mainland began using the domesticated long-stapled ramie plant. Silk was also known at this time,[7] but used only by the upper classes. Paper was developed in the 3rd and 4th century AD, and woven textiles including paper fibers likely began to be woven around the 5th and 6th century AD, though there is little early record.[8]

In the 7th and 8th century AD,

silk noil from broken, lumpy or discarded silk cocoons used to weave lower-class materials such as tsumugi, a type of soft, uneven slub-woven
silk with little of its typical shine.

In the 1400s, cotton was introduced from

cottage industry until cotton cloth was first machine-made in Japan in the 1870s.[9]
Tanmono are now often machine-woven.

Kamiko ('paper-child') is a soft, flexible paper with cotton or silk attached to the reverse side. It is highly thermally-insulating. Kimono of kamiko were worn by the poor of the Edo period; more expensive kamiko kimono were elaborately decorated. Kamiko was also used to make other garments.[10]

Meisen, a bright, crisp, durable fabric machine-made from silk noil, was first made in the late 19th century and became extremely popular in the 1920s and 1930s. It is a glossier mechanized version of tsumugi
. Wool, especially merino, was introduced in the same periods and widely worn.

cupro process, which is still used in one factory in Japan as of 2020.[11] Though improvements to the rayon production process significantly improved the durability of late-20th-century rayon, early Japanese rayon fabrics are known for their poorer durability, being more prone to age-related degradation, due to fibres being weakened when brought into contact with water.[12][13] Most rayon is now produced using the viscose process, which uses toxic carbon disulfide.[14] Carbon disulfide emissions are declining for rayon produced in Japan, but in major producing countries, they are uncontrolled (as of 2004)[15] and unknown,[16][17] as is their health toll.[18][19]

List of fibers

Weaves

Four basic weaves are commonly used for tanmono.

twill weave, and produces soft, draping cloth. Shusu-ori is satin weave; it is thick and lustrous with a heavy drape,[20][21]
but the long floats mean that the fabric tends to snag. Black shusu silk was previously commonly used as the reverse side for chūya obi.

Mojiri-ori is a category of gauze weaves used for sha, ro and ra gauzes. They use twisted warps.[20]

Mon-ori (pattern weaving) includes patterning by varying the weave and patterning by weaving with variably-dyed threads. Woven patterns include

chirimen).[20]

  • Tsumugi is a plain tabby weave fabric woven from slubbed silk yarns.
    Tsumugi
     is a plain tabby weave fabric woven from slubbed silk yarns.
  • Tsumugi with a dyed mon, showing slight unevenness in thread diameter.
    Tsumugi with a dyed mon
    , showing slight unevenness in thread diameter.
  • Ro weave with embroidery
    Ro weave with embroidery
  • Reverse view of flat silk embroidery on ro weave
    Reverse view of flat silk embroidery on ro weave
  • Ro weave with silvered-washi (paper) embroidery, showing twisted warp in open space
    Ro weave with silvered-washi (paper) embroidery, showing twisted warp in open space
  • Figured ro weave with resist-dying, hand-painting, and embroidery.
    Figured ro weave with resist-dying, hand-painting, and embroidery.
  • Yore, an uneven gauze crêpe, used in Noh
    Yore, an uneven gauze crêpe, used in Noh
  • Close-up
    Close-up
  • A figured silk (rinzu) kimono woven with a bamboo pattern , and embroidered with a white mon.
    A figured silk (rinzu) kimono woven with a bamboo pattern , and embroidered with a white mon.
  • Rinzu (figured silk) dyed with a blue ground and patterns including shibori (tie-dyed) dots, plus gold embroidery.
    Rinzu (figured silk) dyed with a blue ground and patterns including shibori (tie-dyed) dots, plus gold embroidery.
  • Rinzu satin, dyed and heavily embroidered
    Rinzu satin, dyed and heavily embroidered
  • A rayon chirimen (Japanese crêpe).
    A rayon chirimen (Japanese crêpe).
  • Dyed and embroidered chirimen.
    Dyed and embroidered chirimen.

Weaving, dimensions and use

backstrap loom)[22]

Tanmono are woven narrow instead of being cut to a narrow width, with both vertical edges being selvages. Widths around 40 cm (16 in) are standard, as these were ergonomically the easiest widths to weave on a hand loom[2] without a flying shuttle.

Hand-woven and handspun tanmono are still made in Japan, but they are much more expensive, and the industry is in decline. For instance, though in previous decades, up to 20,000 craftspeople were involved in the production of

saki-ori was historically woven from old kimono cut into strips roughly 1 centimetre (0.39 in), with one obi requiring roughly three old kimono to make.[24]
Traditionally an article of thrift, sakiori obi are now expensive informal pieces of clothing, prized for their limited production and craftsmanship.

Although modern tanmono are mostly machine-woven, the narrow width of most tanmono remains a standard of production. Modern Western fabrics, and

better source needed
]

In approximately the

Meiji period (1868–1912), the bolt length for kimono was standardized. Excess length was adjusted with a tuck-seam across the back, and, for women, by adjusting the depth of the ohasori (waist tuck).[25] By the 20th century, the standard width of a woman's tanmono was roughly 35 centimetres (14 in), with men's tanmono being woven wider, to roughly 40–45 centimetres (16–18 in); historically, bolts were woven to order, so length would vary by both the size of the wearer and the type of garment. However, tanmono for both men and women were woven to roughly 40–45 cm (16–18 in) as standard until late in the 1600s. As a result, the kosode, the direct predecessor of the kimono, had fuller and wider proportions to the modern-day kimono.[27][additional citation(s) needed
]

If the fabric is a single solid colour, or the pattern was komon (a small all-over reversible pattern), the bolt can be cut anywhere. Otherwise, the patterns would be spaced so that it was in the right place relative to where the cloth would be cut (for instance, so that a kimono's hem patterns were located at the hem on all body panels).

The garment's seam width is adjusted so that the finished garment fits the person, instead of cutting the cloth narrower.[3][27] Excess is folded under and hemmed, not cut off.[28][6] Sewn tucks are taken in children's clothing, and let out as the child grows.[29]: 15 

A garment made from a tanmono can be disassembled for cleaning (arai-hari, typically for more expensive or formal kimono), re-dyeing, and repairs;

weight, elasticity, and stiffness
.

  • Indigo-dyed cotton kasuri tanmono for yukata
    Indigo-dyed cotton kasuri tanmono for yukata
  • A length of tanmono dyed in the bingata style
    A length of tanmono dyed in the bingata style
  • Patchwork haori for tea ceremony (chabaori), c. 1800; the areas likely to have been damaged are made in another colour. Paper and cloth.
    Patchwork haori for tea ceremony (chabaori), c. 1800; the areas likely to have been damaged are made in another colour. Paper and cloth.
  • A modern patchwork cloth bag
    A modern patchwork cloth bag
  • Kesa worn by monks, 700s AD
    Kesa
     worn by monks, 700s AD
  • Child's shikibuton (sleeping mat), late 1800s. Boroboro (patchwork) quilted together with over-all sashiko (decorative stitching).
    Child's
    Boroboro (patchwork) quilted together with over-all sashiko
     (decorative stitching).
  • Saki-ori fabric is commonly woven from indigo-dyed fabric strips.
    Saki-ori fabric is commonly woven from indigo-dyed fabric strips.
  • Summer overkimono of translucent fabric, showing that the excess fabric in the okumi (front edge) is not cut, but sewn into the eri (collar)
    Summer overkimono of translucent fabric, showing that the excess fabric in the okumi (front edge) is not cut, but sewn into the eri (collar)
  • Detail of okumi inside eri. Note also wide vertical seams to narrow the garment
    Detail of okumi inside eri. Note also wide vertical seams to narrow the garment
  • Kosode with single-layer collar, showing uncut okumi (front panel) edges which would generally be inside it.
    Kosode with single-layer collar, showing uncut okumi (front panel) edges which would generally be inside it.
  • Child's kimono taken in with kata-nue-age and koshi-nue-age (pleats)
    Child's kimono taken in with kata-nue-age and koshi-nue-age (pleats)
  • Adults and children in identical yukata at the Gion Matsuri. Children's yukata are the same size, but taken in with pleats as in the previous image.
    Adults and children in identical yukata at the Gion Matsuri. Children's yukata are the same size, but taken in with pleats as in the previous image.
  • Kariginu for Noh theatre showing the repeating tanmono clearly
    Kariginu for Noh
    theatre showing the repeating tanmono clearly
  • A miniature kichō screen, at the Costume Museum in Kyoto, showing tanmono-based construction
    A miniature kichō screen, at the Costume Museum in Kyoto, showing tanmono-based construction
  • A noren, or shop curtain, showing tanmono-based construction
    A noren, or shop curtain, showing tanmono-based construction
  • The Kitamaebune carried cotton northwards. Tanmono-based sails, c. 1900
    The Kitamaebune carried cotton northwards. Tanmono-based sails, c. 1900
  • Three-panel sail on a small boat, 1910
    Three-panel sail on a small boat, 1910
  • Large ship with 18-panel sail, 1890
    Large ship with 18-panel sail, 1890

Decoration

A man hand-dyes a length of white cloth with a floral design, painting in individual flowers in different colours.
Hand-decorating tanmono

Tanmono are decorated with a variety of techniques, either in the weaving process, through embroidery, dyework, a combination of techniques or others, such as appliqué.

The decorative technique used on or while constructing the fabric generally designates its end use. For kimono, designs dyed into the fibres and yarns used for weaving before the fabric's construction, including ikat dyeing, are considered informal, with designs dyed into the fabric after weaving and embroidered designs used for more formal kimono. For obi, woven patterns are conversely considered the most formal, with designs dyed onto the fabric and embroidered designs paired with less formal kimono.

If a tanmono is to be used for a formal kimono, such as a hōmongi, tsukesage, irotomesode or kurotomesode, it is temporarily stitched together (kari-eba) so the pattern can be drawn across the seams. For less formal kimono, the pattern is drawn and applied to the fabric before it is cut and constructed, as the design is not intended to match up over the seams, or the kimono will have a solid colour.[3] Tsukesage kimono use a non-reversible pattern laid out with respect to where the cuts will fall, but no seam-crossing patterns. Komon, a reversible all-over pattern (such as geometric or sprigged patterns), is used for everyday komon kimono, but also for other garments, such as kataginu and hakama.[30]

Designs for children's clothing were not distinguishably gender-specific until the end of the 1700s.[31]

Traditionally, tanmono would be dyed and even woven to order; though kimono are still mostly made to order, tanmono are now commonly bought ready-made to be sewn later. Modern tanmono for less formal kimono are often dyed with

inkjet printers,[6]
though formal kimono are more likely to be dyed by hand.

Kasuri

Simple kasuri patterns

Most ikat-woven, indigo-dyed cotton fabrics – known as kasuri – were historically hand-woven by the working classes, who of necessity spun and wove their own clothing until cheaper ready-to-wear clothing became widely available. Indigo, being the cheapest and easiest-to-grow dyestuff available to many, used due to its specific dye qualities; a weak indigo dyebath could be used several times over to build up a hard-wearing colour, whereas other dyestuffs would be unusable after one round of dyeing. Working-class families commonly produced books of hand-woven fabric samples known as shima-cho – literally, "stripe book", as many fabrics were woven with stripes – which would then be used as a dowry for young women and as a reference for future weaving. With the introduced of ready-to-wear clothing, the necessity of weaving one's own clothes died out, leading to many of these books becoming heirlooms instead of working reference guides.[32] Sakiori obi are one-sided, and also often feature ikat-dyed designs of stripes, checks and arrows, commonly using indigo dyestuff.[33]

Rinzu

Rinzu is a figured silk fabric, typically with figurative or geometric motifs. As the pattern is made by varying the texture of the weave, it can be additionally decorated with dyed or embroidered patters.

Resist dyeing

This edo komon pattern is stencil-dyed onto the fabric. The fine lines on the kamon are painted in by hand using yūzen dyework.

Techniques such as resist-dyeing are commonly used. These techniques range from intricate shibori tie-dye to rice paste resist-dyeing (yūzen etc.). Though other forms of resist, such as wax-resist dye techniques, are also seen in kimono, forms of shibori and yūzen are the most commonly seen.[citation needed]

For repeated patterns covering a large area of base cloth, resist dyeing is typically applied using a stencil, a technique known as katazome. The stencils used for katazome were traditionally made of washi paper layers laminated together with an unripened persimmon tannin dye known as kakishibu.[34]

Other types of rice-paste resist were applied by hand, a technique known as tsutsugaki, commonly seen on both high-quality expensive kimono and rural-produced kimono, noren curtains and other house goods. Though hand-applied resist dyeing on high-end kimono is used so that different colours of dye can be hand-applied within the open spaces left, for rural clothes and fabrics, tsutsugaki was often applied to plain cloth before it was repeatedly dipped in an indigo dye vat, leading to the iconic appearance of white-and-indigo rural clothes, with rice paste sometimes applied over previously open areas to create areas of lighter blue on a darker indigo background.

Tie-dye and clamping techniques (shibori)

Thread-tied shibori, ready for dying and after dying

Another form of textile art used on kimono is shibori, a form of tie dye that ranges from the most basic fold-and-clamp techniques to intricate kanoko shibori dots taking years to fully complete. Patterns are created by a number of different techniques binding the fabric, either with shapes of wood clamped on top of the fabric before dyeing, thread wrapped around minute pinches of fabric, or sections of fabric drawn together with thread and then capped-off using resistant materials such as plastic or (traditionally) the sheaths of the Phyllostachys bambusoides plant (known as either kashirodake or madake in Japan), amongst other techniques.[35] Fabric prepared for shibori is mostly dyed by hand, with the undyed pattern revealed when the bindings are removed from the fabric.

Shibori techniques cover a range of formalities, with all-shibori yukata (informal), all-shibori furisode (formal) and all-shibori obiage all being particularly common. Shibori can be further enhanced with the time-consuming use of hand-painted dyes, a technique known as tsujigahana (lit. 'flowers at the crossroads'). This was a common technique in the Muromachi period, and was revived in the 20th century by Japanese dye artist Itchiku Kubota. Due to the time-consuming nature of producing shibori fabrics and the small pool of artists possessing knowledge of the technique, only some varieties are still produced, and brand-new shibori kimono are exceedingly expensive to buy.

List of decoration types

  • Woven patterns[1]
    • あい (藍, Ai), solid indigo in varying shades
    • Shima, woven stripes
    • Koushi, tartan cloth
    • Kasuri, a traditional Japanese ikat technique
    • Rinzu, a damask weave, geometric or figurative
  • Dyed-in-the-cloth techniques
  • tie-dyeing
  • Resist dyeing
    • Tsutsugaki, a monochrome paste-resist technique
    • Yūzen, a polychrome paste-resist technique which sometimes uses whole-cloth stencils
    • Katazome, a stencilled paste-resist technique, often repeating
    • Rōketsuzome, wax-resist dyeing
    • Ise katagami, stencil-cutting
    • Okinawa
  • Sewn patterns
    • Boro (textile), traditional Japanese patchwork
    • Sashiko, a type of decorative stitching designed to reinforce fabric
    • Kogin-zashi, a counted-stitch substyle of sashiko

See also

Garments and other cloth items

  • Kimono
  • Kosode, the predecessor to the kimono
  • Kichō, a type of traditional dividing screen made of fabric
  • Noren, a type of door curtain

Regional varieties of tanmono

Notes

  1. bast fiber".[7]

References

  1. ^ a b c d Wada, Yoshiko (2004-01-01). Boro no Bi : Beauty in Humility—Repaired Cotton Rags of Old Japan. Textile Society of America Symposium Proceedings. A few important underlying aesthetics that unite all boro textiles in the exhibition can be attributed to the fact that most Japanese traditional textiles are woven in units of 1 tan, which measures about 14 inches by 13 yards. Each tan, or bolt, is cut into a series of rectangular panels, which are then sewn together to create an article of clothing or utilitarian object. There is no cutting into the cloth for sleeves or darts like in Western clothing, which means that worn clothing could be easily taken apart and transformed into coverlets and mattresses.
  2. ^ a b c "About the size of tanmono (a roll of kimono cloth)". hirotatsumugi.jp. Hirota Tsumugi. Archived from the original on 4 July 2020. Retrieved 27 January 2020. The reason why kimono fabric is 38~41cm wide is largely due to the structural limitation on a hand loom. Shuttles are thrown and passed back and forth between weaver's right and left hand, so that a wide of traditional kimono fabric inevitably be shorter than hands length, and 40cm is the best size for throwing a shuttle.
  3. ^ a b c d e "Details About Tanmono. Features And Kimono Roll's Types (かふぇきもの)". cafe-kimono.com. 2020-02-20.
  4. ^ Dalby, Liza (1993). Kimono:Fashioning Culture.
  5. ^ Hodge, Sarah B. (2019-07-05). "10 Things to Know About Kimono's History, Design and Evolving Future". Tokyo Weekender. Retrieved 10 June 2021.
  6. ^ a b c McKirdy, Andrew (2020-07-25). "Redefining the kimono in modern times". The Japan Times.
  7. ^ a b c d e Dusenbury, Mary (1992). "A WISTERIA GRAIN BAG and other tree bast fiber textiles of Japan". Textile Society of America Symposium Proceedings. Retrieved 12 June 2021.
  8. ^ Karuno, Hiroko (October 19–23, 2016). "Shifu: A Traditional Paper Textile of Japan". Textile Society of America Symposium Proceedings. Crosscurrents: Land, Labor, and the Port. Textile Society of America's 15th Biennial Symposium. Savannah, GA: University of Nebraska – Lincoln.
  9. ^ a b Austin, Jim (2018-07-01). "Short History Of Japanese Textiles | Kimonoboy". www.kimonoboy.com. Retrieved 11 June 2021.
  10. ^ "Commoner in kamiko haori (=paper coat)". www.iz2.or.jp. IZUTSU SAMEGAI BUILDING, 5th Floor, Horikawa-Dori, Shinhanayacho Sagaru,Shimogyo-ku, Kyoto 600-8468: The Costume Museum.{{cite web}}: CS1 maint: location (link) (see "Commoner in kamiko haori" in the index of this page on the Edo period for the image referred to)
  11. ^ "Production System". www.asahi-kasei.co.jp.
  12. ^ a b c "The lowly komon kimono is the workhorse of the kimono wardrobe, worn for trips to town, to friends houses, in any situation which is outside of the home but informal. Despite their name, which means 'small design', komon can have large or small imagery, and the repeat can be staggered widely. painted, closely stencilled, woven, Printed, striped, spotted, shibori, silk, jinken, modern polyester--if it's a repetitive design, short-sleeved, and without kamon, then it's a komon". Kimono mochi: kimono collection.
  13. doi:10.1002/app.20879
    .
  14. ^ "Chapter 5.4 : Carbon disulfide". Air Quality Guidelines (PDF) (2 ed.). WHO Regional Office for Europe, Copenhagen, Denmark. 2000. Retrieved 31 July 2021.
  15. doi:10.1029/2003JD004259
    .
  16. ^ Swan, Norman; Blanc, Paul (20 February 2017). "The health burden of viscose rayon". ABC Radio National.
  17. ISBN 978-0-300-20466-7
    .
  18. S2CID 45869497
    .
  19. doi:10.1038/scientificamericanearth0609-60 (inactive 2024-04-25).{{cite journal}}: CS1 maint: DOI inactive as of April 2024 (link
    )
  20. ^ a b c d "Handbook for the Appreciation of Japanese Traditional Crafts". Nihon Kogeikai. Retrieved 17 July 2021.
  21. ^ "4". AVUM and AVIM Manual for General Aircraft Maintenance Sheet Metal Shop. Integrated Publishing, Inc. p. Figure 4-8. Retrieved 31 July 2021.
  22. ^ Bryan (2010-08-05). "ワークショップ: Backstrap Looms". 日本のテキスタイル: Japanese Textile Workshops 日本のテキスタイル ワークショップ. Bryan's JapaneseTextiles. Retrieved 11 June 2021.
  23. ISBN 978-1-4725-8553-0
    .
  24. ^ Wada, Ichiro; Wada, Yuka. ""Sakiori in Nishinomiya" Technique detail". tourjartisan.com. Tour J Artisan; Ichiroya. Archived from the original on 18 June 2020. Retrieved 2 July 2020.
  25. ^ a b c "Kimono Mochi: private kimono collection photographs and text". kimonomochi kimono collection. Retrieved 31 July 2021.
  26. ^ "FAQ". Shinei antique kimono store.
  27. ^ a b c Joseph, Lisa A. "Kosode: a Japanese garment for the SCA period". www.wodefordhall.com. Retrieved 10 June 2021.
  28. ^ Bhagan, Suzanne (2019-07-15). "6 Things You Probably Didn't Know About Kimonos". Savvy Tokyo.
  29. ^ a b Victoria and Albert Museum. Department of Textiles; Smith, A. D. Howell; Koop, Albert J. (Albert James) (1919–1920). Guide to the Japanese textiles: Costume. Vol. 2. Translated by Inada, Hogitaro. Harold B. Lee Library. London : Printed under the authority of H. M. Stationery Office. (translator did not translate the full book text, but from the acknowledgements of vol 1 it sounds as if some of his translations might be incorporated into the work. Volume 1 came out in 1919, volume 2 in 1920. Note the work is in the public domain, therefore the fulltext is not copyright)
  30. ^ "Warrior in ceremonial costume; kataginu (=sleeveless jacket) and naga-bakama trousers, popularly known as kamishimo dress". www.iz2.or.jp. See https://www.iz2.or.jp/english/fukusyoku/kosode/ for associated image.
  31. ^ Sawada, Kazuto (2014-05-09). "Furisode and teenage boys". Bimonthly Magazine REKIHAKU. No.137 A Witness to History. National Museum of Japanese History. Archived from the original on 2014-05-09. {{cite journal}}: |volume= has extra text (help)
  32. ISBN 978-0-09-942899-2
    .
  33. ^ Wada, Ichiro; Wada, Yuka. ""Sakiori in Nishinomiya" Technique detail". tourjartisan.com. Tour J Artisan; Ichiroya. Archived from the original on 18 June 2020. Retrieved 2 July 2020.
  34. ^ Marshall, Linda. "Japanese Paste-Resist Dyeing · Katazome". washarts.com. Washi Arts – Exceptional Japanese Papers. Archived from the original on 2 July 2020. Retrieved 2 July 2020.
  35. ^
    ISBN 978-1-56836-396-7
    .

External links

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