๐ธ ๐๐๐ฃ๐๐๐ ๐ ๐ ๐๐๐ก๐๐๐๐ค๐ ๐น๐ ๐ฃ๐ ๐๐๐ฉ๐ฅ๐๐๐๐ค
: ๐ข๐ฏ ๐ฆ๐น๐ข๐ฎ๐ฑ๐ญ๐ฆ ๐ฐ๐ง ๐ด๐ถ๐ด๐ต๐ข๐ช๐ฏ๐ข๐ฃ๐ญ๐ฆ ๐ง๐ข๐ด๐ฉ๐ช๐ฐ๐ฏ
: ๐ข๐ฏ ๐ฆ๐น๐ข๐ฎ๐ฑ๐ญ๐ฆ ๐ฐ๐ง ๐ด๐ถ๐ด๐ต๐ข๐ช๐ฏ๐ข๐ฃ๐ญ๐ฆ ๐ง๐ข๐ด๐ฉ๐ช๐ฐ๐ฏ
boro textiles (derived from the Japanese term โ๐ฃ๐ฐ๐ณ๐ฐ๐ฃ๐ฐ๐ณ๐ฐโ meaning โtatteredโ) refers to patchwork textiles hand crafted by Japanese peasants during the 19th and early 20th centuries.
during the Edo period, silk and cotton were materials that only the upper echelons of Japanese society could afford. peasant farmers had to grow materials for and weave their own utilitarian items including clothing, blankets, etc.
boro outerwear vs. 18th century Edo kimono
boro outerwear vs. 18th century Edo kimono
due to economic necessity, these garments were constantly repaired and reweaved, sometimes lasting for multiple generations within a family.
following the Meiji period and general improvement in Japanese standards of living, boro garments were synonymous with an embarassing past of poverty for many in the working class.
however, over time boro textiles came to represent the aesthetics of โ๐ธ๐ข๐ฃ๐ช-๐ด๐ข๐ฃ๐ช โ โa Japanese worldview centered around the ideas of transience and imperfection.
the natural beauty coming from these well-used yet well-preserved garments serve to symbolize the principles of Japanese ethics and aesthetics, especially in their literal origin as an avoidance of waste.
many contemporary designers were inspired by these Japanese notions of reuse, mending, and patchwork including Yohji Yamamoto, Issey Miyake, Rei Kawakubo, amongst others.
(their works were included in this boro exhibit at the Japan Society Gallery)
(their works were included in this boro exhibit at the Japan Society Gallery)
besides being a great influence on sustainable design today, boro textiles are also an example of the โtrickle-upโ theory in fashion in which fashion ideas are taken from lower classes and are then adopted/reinvented by the upper class.
from issue magazine:
from issue magazine: