I returned from Japan with a suitcase full of craft tools and materials and a head full of project ideas. Japan’s deep respect for traditional craft and master craftsmanship means inspiration is everywhere in this fascinating country. One of the first crafts that caught my attention was Tsugaru kogin-zashi. Kogin, as it’s commonly called, is a form of Japanese stitching originating from the northern regions of Japan.
We travelled to Hirosaki in northern Japan in the hopes of seeing the cherry trees in bloom. We were not disappointed—they were fabulous (see Postcards from Japan #1 and #2) but we also discovered a wealth of traditional crafts!
The Tsugaru Craft Center Takumi is located in a 300-year-old building originally built to store rice for the Hirosaki clan. While the purpose of the Storehouse has evolved from rice storage to school building to craft center, the original structure remains the same. Today, outstanding examples of regional crafts including Tsugaru lacquerware, Kogin embroidery, Kokeshi dolls, Tsuri spinning tops and Tsugaru pottery are showcased against the historic walls and pillars.
Here’s a spectacular example of Kogin stitching on a traditional Japanese kimono.
At first glance, it might appear as if this jacket was simply sewn from a pretty patterned fabric. But a closer look reveals an entirely different story. The jacket is sewn from solid black fabric and the beautiful design has been added with white thread, one tiny stitch at a time, to build up the elaborate geometric patterns.
Here’s another example—a striking wall hanging with intricate Kogin stitching.
Zooming in on the center motif exposes the individual stitches—rows and rows of tiny, horizontal stitches sewn in white thread onto the black background.
Kogin stitching uses a technique called “counted thread” embroidery. It is worked on fabric with an open, even weave so the vertical and horizontal fibers of the fabric can easily be separated and counted. The Kogin artisan follows an established pattern to determine the placement and length of each stitch. Presumably, experienced artisans would have these patterns memorized or be able to build them on the fly. But the rest of us, would rely on printed patterns like those in this book, Tsugaru Kogin Zashi by Setsu Maeda, which I purchased in Hirosaki.
I was pleasantly surprised to find the pattern for the center motif of the above wall hanging in my book. It is listed as “Mushi-kui (Worm-eaten spot design)”. “Worm-eaten spot design” is not the most appealing name but it is the perfect reminder of Kogin’s origins!
Experts report Kogin stitching was born out of necessity back in the Edo Period (1603-1867). There were several factors at play including the climate. Northern Japan has harsh winters with freezing temperatures and heavy snowfalls.
Another factor is the governmental restrictions that were in place at the time—sumptuary laws designed to ban luxury and force thrift were issued by the feudal clan government. Farmers, for instance, were banned from using silk and allowed to wear only low-quality fabrics such as hemp.
The third factor to consider is that farmers and their families made their own clothes from the materials they had. They harvested coarse, strong fibers from plants, such as hemp and ramie, and wove them into fabric. But the fabric was thin and rough and, even more concerning, the resulting clothing did not provide adequate protection in the cold weather.
This woodblock print, by artist Shotei Takahashi, titled Peddler in the Snowy Night helps illustrate the circumstances.
Out of this dire situation, came the idea for Kogin stitching. The farming people came up with the idea to weave cotton threads through the rough hemp fabric. The cotton thread filled the gaps in the hemp cloth adding heft and weight. Special attention was paid to the areas that got the most wear such as the shoulders, waist and wrists. The cotton thread reinforced these areas making them more durable. The denser the cotton thread stitching, the stronger and warmer the clothing became. Genius!
This technique became known as Kogin-zashi (kogin literally means small cloth and zashi means stitches) or Kogin stitching. Many of the traditional patterns used for Kogin stitching reflect these humble beginnings—they are based on simple elements from nature such as soybeans, bamboo joints, flowers, dragonflies, pavement stones, gourds, cat’s paws and, yes, worm-eaten spots!
Over time, Kogin evolved and grew as an artform. “Long winter in Tsugaru gave them time for delicate and beautiful needle work. This handiwork also became pleasure for daughters, where they could express themselves. In the middle of Edo era, cotton thread became more available and people competed to make luxurious Kogin-zashi. Eventually, people started to use Kogin-zashi as their festive kimonos as well as their daily wears, and even brides prepared Kogin-zashi kimono when they got married.” explains the Japanese Traditional Culture Promotion & Development Organization (JTCO) website.
Here’s an extraordinary example of a Kogin-stitched kimono from the Victoria & Albert Museum online textile collection.
This work of art was made between 1880-1920 in Tsugaru, Japan. The accompanying description goes on to explain “This kimono was made and worn by a woman living in Tsugaru, a peninsula in the very north of Honshû, the main island of Japan. It is woven with fine indigo-dyed ramie. The decorative panel on the upper part has been stitched in white with a diamond pattern, a technique known as kogin. If she was to make a good marriage it was essential that a Tsugaru woman master the skills of kogin, and training began at an early age. By her wedding day the bride was expected to have woven and embroidered a number of fine garments for herself and her future husband. These would be worn on special occasions.”
Returning to the present day, here are a few more examples of Kogin stitching from the Tsugaru Craft Center in Hirosaki.
Smaller Kogin-stitched items, such as handbags and drawstring bags, were also available in the gift shop.
Inspired by all the possibilities, I decided to give Kogin stitching a try. Here’s my attempt to create a band of simple stitches.
More Info
For more information about the Tsugaru Craft Center Takumi see the Neputa Village website. Neputa Village, in Hirosaki Japan, offers an all-encompassing Tsugaru cultural experience.
The book, Tsugaru Kogin Zashi by Setsu Maeda, provides a great overview of kogin stitching along with an extensive collection of stitching patterns.
An incredible collection of woodblock print images, such as Peddler in the Snowy Night by Shotei Takahashi, are available from the online database and image similarity analysis engine at Ukiyo-e.org.
More information about Kogin-zashi/ Kogin stitching can be found in the following online resources:
. Online article: Kogin Embroidery by Aomori’s Traditional Handicrafts
. Online article: Aomori Kogin-Zashi by Tohoku Standard Japan
. Blog Post: Kogin Sashiko | Another Ramification of Sashiko by Atsushi Futatsuya
. Research article: Kogin Zashi Technique by Textile Research Center
. Craft description: Kogin-zashi by JTCO – Japanese Traditional Culture Promotion & Development Organization
. Wikipedia entry: Kogin-zashi
. Things that Talk Article: Embroidery Tales from the Snow Country by Francesca Gammino
Images of the Kogin-stitched kimono from the Victoria & Albert Museum can be found here.
Check the FanningSparks’ Travel > Asia > Japan category index to learn more about my adventures in Japan.
Today’s Takeaways
1. “Necessity is the mother of invention.” Author Unknown
2. Kogin stitching, like many traditional crafts, started with a need to improve ordinary life.
3. Many traditional crafts have evolved to create beautiful, one-of-a-kind works of art.
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