Project #1: Green Bamboo Yukata
"Notice that the stiffest tree is most easily cracked, while the bamboo or willow survives by bending with the wind.”
Studying and wearing traditional Japanese clothing is one of my hobbies, and this summer I had the chance to make my own for the first time. This is a yukata, a cotton robe generally worn during the summer months and most notably present at the summer festivals.
Yukata are traditionally made from cotton that has been specially woven with finished edges into bolts of a specific length, and entirely hand-stitched. Due to time and budget constraints, my teacher graciously allowed me to trim a wider, general-use bolt of fabric down to size and use a sewing machine wherever was convenient. The obi (belt) that she had previously given me also happened to contrast nicely with the print of the fabric. I had to wear extra padding around my middle so I could tie the obi without making any wrinkles.
The ohashori (the fold of fabric beneath the obi that allows for garment length adjustment), exposure of the nape of the neck, and hiding of the collarbone are decidedly feminine in this culture, and the longer sleeves are the mark of a young, unmarried woman. Men’s yukata sit right against their neck, and the obi are tied lower across their middle while the collar is left looser to show off their collarbone.
The Nitty and Gritty
Front view
Inside view
Back view
Concerning the collar...
This is the kake-eri, a second layer sewn atop the first collar. It’s a nice decoration, but the extra fabric tends to over-insulate the chest area in the summer heat.
This is the kata-ate, which most mass-produced yukata lack, as it requires a steady and sure hand to stitch the corners of the piece to the round collar. It reinforces the collar where it joins the robe, and helps keep the robe clean. The hem remains unattached for airflow and to prevent stretching and/or shrinking while washing.
Concerning the body...
The four seams holding the main form of the robe together are sewn down by hand, with wide stitches hidden beneath the allowance, and tiny stitches rendered nearly invisible by the print on the other side.
The fabric of women’s yukata is drawn back slightly at the collar so it can be worn with the nape of the neck visible. This extra material is called the okumi-sagari, and is stitched in place across the back.
This is the ishiki-ate, another piece generally left out of modern yukata. It rests right on the derriere, preventing the robe itself from wearing out too quickly from constant movement, and is also left open at the hem.
Concerning the sleeves...
These are the marumi, the rounded corner of the sleeves. A form keeps the fabric in place during the careful stitching in tapered back-and-forth rows, which allows a smooth, wrinkle-free curve on the outside. The resulting pleats on the inside are pressed and sewn in place.
The corners of the robe are finished with the technique called gakubuchi-nui, the “picture-frame stitch.” This provides a cleaner edge than when folding the fabric over three times and sewing it down.
Learning the heart of traditional everyday clothing was a fascinating, humbling, and enlightening experience. My teacher was very lenient in the rules with me and put extra effort into calculating the extra allowance needed for my non-standard fabric, as well as very patiently walking me through the ancient Japanese sunpou measurement system, one sun being roughly equal to 3.03 cm. The exact same techniques used for these cotton robes are used for making the silk summer kimono as well, which I also hope to create one day.
“Summer will end soon enough, and childhood as well.”