Kogin Embroidery

Shibui (adjective), Shibumi (noun), and Shibusa (noun): A Japanese word which refers to a particular aesthetic of simple, subtle, and unobtrusive beauty. Shibui objects appear to be simple overall but they include subtle details, such as textures, that balance simplicity and complexity, producing timeless tranquility. The seven elements of shibusa are simplicity, implicity, modesty, silence, naturalness, everydayness, and imperfection.

Remember the Japanese Sashiko embroidery piece I worked on recently?

              Extending my exploration of embroidery from Japan, Kogin embroidery caught my eye. Kogin embroidery is a Japanese form of pattern darning similar to Sashiko, which is considered to be a form of quilting. It originated in the Honshu province of northern Japan and this method of pattern darning was designed to add bulk and warmth to clothing. Historic Kogin designs can be quite complex and often richly decorate the fabric.

              Kogin patterns are comprised of straight stitches, similar to the much better known sashiko, but with a few key differences. Unlike sashiko, Kogin is often done on even-weave fabric like Aida or linen, the same kind of fabric you might use for cross stitch. The straight stitches can be of varying length and are arranged to form symmetrical motifs and repeating patterns. When doing Kogin, the threads need to be thick enough to fill the holes in the canvas, otherwise it looks too skimpy.

              Historically in Kogin embroidery the stitches are done with a thick white cotton thread on indigo fabric. Most modern Kogin examples I have seen are monochrome, generally wool or cotton is used, and as the color scheme has expanded. This embroidery was originally a simple contrast of plain thread on a dyed fabric, but from that progressed to diagonal stripes, herringbone patterns, and then diamond shapes. This spontaneously generated design is the fundamental component of Kogin embroidery. With the use of methods to make a beautiful pattern appear within the diamond outline, the embroidery becomes truly exquisite. There are 30 of these patterns commonly used, and when combined with different border patterns there are an endless number of possibilities.

               I chose traditional Kogin embroidery hemp linen for this project. Embroidering this was a mix of easy and complicated at times. The hemp linen though rough in texture was very delicate and loosely structured as the weave is a looser weave. And I had difficulty with the pattern and stitching as well. With the looser weave it was difficult counting spaces for my stitches. I had initially chosen a much detailed pattern but after a few attempts realized I needed to choose something a bit simpler for my first try.  

  
            I completed my Kogin piece into a small zippered pouch and chose a  complimentary Japanese patterned fabric for the lining (that you see in the above photo) and added a tassel made with some glass beads and yarn.

Do check out this site for some cool information on Kogin embroidery:

https://www.google.com/culturalinstitute/beta/exhibit/PwLS55VaVTzcJA

Sashiko Embroidery

             Continuing on after Mexican bordado, Hungarian Matyo, and Swedish Delsbosom, my embroidery journey takes me to Japan and Sashiko.

             I am always amazed at the deceptive simplicity of Japanese arts and crafts. The beauty of this simplicity moves me; at first look it seems obvious and straightforward but that accessibility turns out to be the product of in depth thought, mastery of materials, a delicate balance of form and allusion, and a commitment to clarity. The basic geometry and sparse detailing evoke natural simplicity making these pieces seem misleadingly effortless. Japanese arts is a testament to the illusion of simple things and what they hold beneath the surface.

               Sashiko, a centuries old art, is a form of Japanese folk embroidery using a variation of the simple running stitch or now well known as the sashiko stitch to create a patterned background. The geometric, all-over patterns include straight or curved lines of stitching arranged in a repeating pattern. The Japanese word sashiko means “little stabs” and refers to the small stitches used in this form of needlework. 

             For my first attempt at sashiko I chose a pre-printed sampler on 100% cotton and a pattern called 'Kaki-no-hana'. I also stayed true to sashiko by choosing  to work with sashiko thread and sashiko needle. The beautiful time-honored patterns are inspired by the Japanese' love and respect for nature and hence follow a rhythm and lyricism inspired by nature.

                    Sashiko is easy to master and is very meditative and relaxing. Although the patterns range from simple to very complicated, they are just a matter of breaking down the whole into linear parts. The patterns are always worked in linear only.

               The simple Sashiko stitch is used to create simple and complex designs and this style of embroidery is both beautiful and functional. Aesthetically the sashiko patterns are very pleasing with their symmetry and precise use of space. Functionally these stitches were used for mending and quilting. It was used to add weight and thickness for warmth in garments. Farmers and fishermen used and reused materials and sashiko techniques made the most of their resources. In the winter women of the families used sashiko techniques to extend the life of worn fabrics, mend, and winterize clothing, and embellish everyday items. Shades of indigo fabric were patched or quilted neatly together with sashiko stitches, covering holes and reinforcing worn areas.  Traditionally, sashiko patterns were sewn with off-white stitches on dark indigo fabric. The timeless excitement of indigo and white strikes me as a classic combination that carries to a clean and elegant look.

                  
                    I chose to sew my completed sampler into a drawstring bag. I chose a bright red fabric with small flowers which reminded me of the Japanese cherry blossoms for the lining of the bag. The combination of the dark blue and white with pops of red is so dramatic and chic.

A very good informative site on Sashiko and its history:

https://www.seamwork.com/issues/2016/04/sashiko

Swedish Embroidery

  Delsbosöm Embroidery

“My wife always bears the scent of roses. I don’t know how she accomplishes this, because she doesn’t use perfume. Maybe it’s her soap or sachets in her wardrobe. It’s just her…her fragrance. Blindfolded I could pick her out from a hundred other women by scent alone.”

                                                                                              -The Duke and His Duchess/ The Courtship by Grace Burrowes.

           
          

           As I dream of the romance in that sentiment, I see myself standing in a pool of warm sunlight streaming through the windows, intoxicating heady scents of flowers engulfing me, surrounded by monogrammed soft linen in a variety of textures, and running my hands over the softness of fabrics, inhaling in the fresh supplies of scented sachets between crisp white snowy piles of sheets and wishing that moment never fades. So it was natural that this project of mine would indulge me that feeling. 

           After Mexican Bordado and my Matyo Hungarian Embroidery project I want to take you a hop, skip, and jump away to Sweden. Well, not quite a hop, skip, and jump away but nevertheless I think you will enjoy this journey.

           Embroidery techniques with names like Anundsjösöm, Blekingesöm, Delsbosöm, Hallandssöm, Jämtlandssöm, Järvsösöm, Korssöm, Marbosöm, Underläggssöm, Vävsöm, and etc. bring to imagination stories and visuals with roots in the textile cultural heritage of Sweden.

           In this project I worked on some scented sachets done on crisp white linen with Delsbosöm Embroidery.

           Delsbosöm, also called long stitch, is sewn as a single-sided flat stitch where the stitches are not meant to give total coverage on the pattern. Delsbosöm's figures have relatively smooth contours with motifs usually being flowers and leaves with stems in stalks. Old embroidery work is known to also have birds, baskets, and crowns.

                   

       

                    Delsbosöm was traditionally used to decorate basic linens and bed textiles. The linen used was rough so embroidery of simple straight flat stitches was added for a bit of interest. Older embroidery seemed pale as the dye used to dye the yarn did not attach well to the fibers. Since yarn and linen was expensive, Delsbosöm was embroidered especially on the lower hanging edge of bed linen and pillow coverings as a show of status and also on bedding beds. Layers of sheets with a weave of rosemary bush or winter sheep skin depending on the season were not uncommon. To show richness Delsbosöm was also embroidered on hangers that could be hung on furniture such as cabinet, stands, and bed frames.

             Age old Delsbosöm embroidery from the Delsbo region located in Hälsingland came from a time when textiles were highly valued and a beautifully decorated bed was an important status symbol. The textiles were a measure of the skill of the farm women. Since linen was an important commodity that contributed to the household economy, young women were valued, for example at courtships, based on their embroidering and textile handling abilities.

Interesting fact: In a fire insurance from 1853 bed and linen clothes were valued at 550 riksdaler (riksdaler was the name of a Swedish coin first minted in 1604. Between 1777 and 1873, it was the currency of Sweden) while everything else, except silver, copper and tin, was taken up to 120 riksdaler. 

              
                 So here’s to discovering and being inspired by the beauty of textiles. Notice more, explore more, experience more.

        

Credits:

http://textilhemslojd.se/brodera/broderitekniker-historik/delsbosom 

Hungarian Embroidery

            I still remember when dad returned from his short official trip to Hungary in 1983; we were so excited to have him back home after more than a month, and to see all that he had brought back for us. Of all the souvenirs and gifts he brought back I remember these two beautiful dolls packaged inside cylindrical plastic tubes, dolls dressed in white traditional Hungarian folk outfits with embroidery of bright flowers on their dress aprons. Somewhere deep within my 9 yr olds' heart and soul did I know then that in the future I would be drawn to the exquisite details of Hungarian embroidery? It's amazing how small memories from the past reach out and make connections and revive emotions in our present. 

            In my limited study of the extremely rich Hungarian embroidery culture, I have learnt that they are named after the region from where they originate. Impressively, Hungary has more than twenty different folkloric regions, each with their own motifs and style of embroidery. My following project is an attempt at Matyo embroidery, I love the dense design usually done on a black background. It is similar to Kalocsai embroidery, another popular Hungarian embroidery style, the most prominent difference between the two being that in Matyo embroidery the rose maybe red only while in Kalocsai it is more colored. Common motifs include roses with the distinctive peacock center, lilies, wheat, paprika, and etc.

               This project has been a reminder of how important it is to use the right tool for a job. We have heard the saying; “the right tool for the right job”, and “you are only as good as your tools.” Right from the beginning I struggled with the tools I used on this project. To begin with my embroidery hoop wasn’t tight enough and I was having problems keeping the fabric taut in the hoop. And any needle worker will tell you how important that step is. Next, the problems with transferring the pattern onto the black fabric, the transfer paper I was using not being very effective. I thought I was losing my sight and was trying to stitch standing by the window! I researched a little bit and found a transfer paper that claimed to not fade absolutely! I waited a week for it to be delivered but disappointingly that paper was marginally better than the previous one. Determined to make do somehow and not waste any more time, I transferred small portions of the pattern, embroidered that and then transferred another section to work on. But even on a small flower, by the time I reached the second petal the pattern was blurred and fading. Urggh. Then the problems with the needle; the right needle and definitely a right size needle are so important. I was using an embroidery needle but not the right size one. It was so difficult to stab through the heavier linen fabric and pull, the thread would snag and get knotted, it was difficult to grip that small needle, and the needle bent with all the force of my efforts. Urggh.

           Here I am peering at a blurry fading pattern, pulling the fabric every few seconds to keep it taut on the hoop, and trying to stitch a basic satin stitch with great difficulty holding onto a bent tiny needle, getting frustrated and just about ready to give up!

               It’s not that I don’t realize the significance of choosing and using the right tools. But many a time we decide to make do with what we have at that the time for whatever reason. Sometimes when I don’t have the right equipment for the job, I’ll use the things I have, and if it’s the wrong tool, my work suffers, leading to frustration or a shabby result. The right tool can be the difference between ‘I give up-I don’t want to complete it’ and a proud accomplished joyful state with a completed piece. The truth is that having a tool that is specifically designed for a specific job, can make all the difference and reflect on the quality of the finished product.

             I wasn’t able to find a solution for the pattern transfer issue but two simple change…I changed the needle and the hoop. And it was as if the clouds opened up…Ah ha!! This was how it was supposed to feel all along; efficient and smooth stitching. The immediate change in the effort required and the resulting clean needle work was so obvious. Now if only I could find a good fabric pattern transfer product.

              I completed this piece into a tablet case and I must am say I am very happy with how it all came together.  

            I love the shape of the flowers and how luxurious the richly embroidered piece looks. You have to see it in person!