Kumihimo: Rebirth

Part III: The craft nearly lost

Kumihimo survived for hundreds of years in Braiding Houses, which were often composed of families of craftsmen. These houses rarely permitted outsiders access and jealously guarded their braiding diagrams. However, modern technology and modern dress caused a severe depression in the craft. Fewer and fewer women wore the traditional kimono and modern braiding machines made braids faster and cheaper.

Kumihimo as a decorative accessory

In an attempt to keep the craft alive, one House published a few diagrams in the mid-1970's. The patterns were so popular that other Houses rushed to follow suit. Schools were established in the once restricted Braiding Houses and are now well established and offer courses in kumihimo. Continuation of the craft seems assured.

Although many unfamiliar with the craft of kumihimo identify it with the French knitting spool of childhood, it is actually more closely related to bobbin lace and to Victorian hair braiding.

Like kumihimo, bobbin lace—a 16th century European development—uses weighted bobbins for interlacing and interweaving threads. Even more similarities exist between kumihimo and Victorian hair braiding, which was very popular in Germany, France and England in the late 19th century, and even the equipment is very similar to the Japanese marudai and bobbins.

Kumihimo, which is defined as three or more strands crossed or interlaced in a pattern, can create square, round, flat, and even hollow braids. The thread strands run lengthwise with the effect that the braid is very strong and quite elastic. Knots made from handmade braid are more secure and therefore, less likely to come undone. For many years, historical usage in warfare depended upon these factors. Braids made by machine, no matter how sophisticated the equipment, lack these qualities: qualities that can only be achieved by hand.

Traditionally worked on a marudai, or braiding stool, kumihimo braids made in the traditional way use weighted bobbins, counterweights. The hands maintain and control tension during the braiding process. Although there is no doubt that working on a marudai provides the craftsperson with far more control over braiding and supports the creation of more complex braids, a marudai and bobbins are not required to create many kumihimo braids. Using a simple and inexpensive handheld circle that is notched and numbered a craftsperson can create beautiful braids.

*This excerpt is from the historical introduction of Charlene Marietti's workbook, "Kumihimo: A Systematic Approach to the Ancient Art of Japanese Braiding."

Kumihimo: A craft for war and beauty

Part II: The Asian route

Bushi warrrior armor

The introduction of braiding into Japan is known to have traveled with the movement of Buddism through Korea into Japan from T'ang China in the late 7th or early 8th century. When Japan cut all ties with China after the 8th century, Japanese culture became established as unique and separate from its former source of influence. With the growth of increased nationalism, the culture became more introspective and its society more insular which enabled art forms to develop independent of outside influences. During this time, the unique Japanese braid patterns developed.

The aesthetic ideal of beauty and function in harmonious combination was epitomized by the 13th and 14th centuries when the demand for elegant braids from the Imperial Court, from the warrior classes, and for religious ceremonies was at its zenith. Patterns were developed that were associated with, and defined by, rank and ceremony, particularly within the military.

As the numbers of Bushi warriors increased, the demand for armor and sword braids grew. The traditional suit of samurai armor required two types of braids: flat, flexible silk braids to attach the layers upon layers of small, flat metal or lacquer plates and hard, tight braids to edge the outer structure.

Braids were also used on swords for both practical and fashionable purposes. Flat, ridged braids without patterns were wound around the hilt to provide a good grip and strong and thick, decorated braids were used to attach the scabbard to the warrior's armor.

As social changes evolved in Japan, so did demand and uses for braids. In the 15th and 16th centuries, the Tea Ceremony became an important part of Japanese life, and braids, always beautiful, were an integral part of this event.

Tightly tied to cultural and political changes, braids and braid quality reflected the times. Periods of internal political turbulence, for example, caused braid quality to suffer when demand for braids exceeded the capabilities of the craft industry.

With political stabilization in the second half of the 16th century, braiding and other fine arts and crafts regained their former value. The Tea Ceremony was re-established as an important social custom with brought renewed enthusiasm to the beautiful braids that were part of the presentation. Inspired by the braids on tea canisters, the reigning ruler adapted the braids to keep his Haori jacket closed in the front, thus giving birth to the Haori braid.

The period of peace in Japan from 1600 to 1868 was a stimulating environment for artists and their arts. Feudal lords spent alternate years in Edo (now named Tokyo), improving the quality of life and providing a ready market for articles related to the Samurai warrior classes. Since the sword was their spiritual symbol, great attention was assigned to the braids for sword knots. It was not uncommon for them to be braided with individual's names or with the family crest. To meet the increased demand for braids, large numbers of braidmakers moved to Edo to practice their craft.

But the market crashed with the abolition of the Samurai classes in 1868. The wearing of swords was forbidden and demand for braids collapsed. A small number of braidmakers adapted their craft to fashion and in the subtle shift in women's dress style. For braidmakers, the change in the width of in the sash band, or obi, which is worn over the kimono, was significant. To secure the wider obi , fashionable Japanese women quickly adopted the braids previously used on swords. These braids then came to be known as obijime.

Priests in temples continued to use the beautiful braids for decorative purposes on sacred scrolls as did traditional Japanese theater (Noh, Kabuki, and Bunraki), which used the decorated braids in costuming as fastenings, decorative knots, and tassels.

Next week, Part III: A craft nearly lost

*This excerpt is from the historical introduction of Charlene Marietti's practical workbook, "Kumihimo: A Systematic Approach to the Ancient Art of Japanese Braiding."

Kumihimo: Who, what, where

Part I: Kumihimo's ancient roots

Since early Paleolithic man discovered the art of plaiting three strands together to make braid, people have made use of the increased strength of braided structures. Although the art of braiding and plaiting pre-dates loom weaving

Examples of kumihimo braids

by hundreds, if not thousands, of years, these skills tended to disappear with the development of looms. As cultures gained proficiency in the art of loom weaving, the craft of braiding and plaiting became less and less valued.

Historically practical structures, braids were typically designed for specific uses and purposes. Little documentation exists about the forms and uses of the earliest braids because they have always been considered 'secondary textiles.' Undoubtedly, many cultures sought to enhance their daily life with braids that were beautiful as well as useful, but beauty was secondary. The information we have today comes almost exclusively from preserved braid pieces, often attached to clothing or with objects preserved in temples, shrines and graves.

Three continents, the North and South Americas and China, have strong historical braid roots. The earliest braids found to date have been in the high, dry Andean Highlands of South America, which have proven a good repository for braids and other Peruvian textiles. Similar, but distinctly different, flat, finger-woven braids are known from the Basketmaker period of North American Indian history. The silk braids known as kumihimo developed in China, but travelled great distances and gained identity in Japan, rather than China.

Each of these three very different and very distant cultures developed braids unique to, and characteristic of, that particular culture. The flat, finger-woven braids of the North American native Americans and of the Peruvians share a commonality, but are readily identifiable one from the other by patterns and designs. In addition, the round braids made entirely in hand by Peruvians even today share a common structure with many of the round Japanese braids—but are distinctive in materials, patterns, and uses.

Next week, Part II: The Asian route

*An excerpt from the historical introduction of Charlene Marietti's practical workbook, "Kumihimo: A Systematic Approach to the Ancient Art of Japanese Braiding."