Hitatare Kamishimo Sugata
Hitatare Kamishimo Sugata
Tsumugi Silk Kimono Fabric (16”) 5
Differences From Period Practice 7
Introduction {#introduction}
Hitatare {#hitatare}
The Hitatare was a garment derived from the garments worn by the common class in the Heian period.(“Hitatare”) It is a large sleeved upper garment, with open sides, and sleeves which are only attached to the body of the garment near the top of the shoulder. As the Costume Museum in Kyoto says about the Hitatare:
“夜具としての名ともいわれ元来は上衣の名であったが、共裂の袴を用いるようになって袴も含めて直垂ということとなり、上下とも呼ぶ。平安時代の民衆の服から武士の用となり、江戸時代には長袴となり三位以上の大名の礼服として用いられた”
[My translation: “Hitatare - An upper-body garment originally used (known/named) as bedclothes, it came to be worn (used) together with hakama, including hakama and hitatare it was called kamishimo. It became clothing for the samurai from the Heian Period onward, in the Edo period, (hitatare) became worn (used) with nagabakama as the court clothes for all daimyo above the third rank.] (風俗博物館)
Sodetsuyu (袖露) {#sodetsuyu-(袖露)}
Sodetsuyu are the cords which run through the sleeve to act as a sleeve tie. As found in the Costume Museum’s Glossary.
“狩衣などの袖括りの緒。直垂、大紋、中世の素襖などでは袖括りが表に出ないで内側に通されているのでその端末だけが袖の下端に見え、また、形式化して袖の端末に飾りとしてつけられている。但し江戸時代礼服としての素襖には無い。” [My translation: Sleeve tying cord of garments such as the Kariginu (informal clothing from the heian period on (jisho.org)). Because in the case of hitatare, daimon, medieval suou the sleeve ties do not go outside they go through the inside of the sleeve, only the end of the tie is visible at the bottom edge of the sleeve. In addition, it was made formal to attach (only the cord’s end) to the sleeve as a decoration. However, in the Edo period Suou didn’t exist as formal clothing](風俗博物館)
Kotsuyu {#kotsuyu}
Kotsuyu, (lit: little knots) are the figure eight shaped knots found at certain points on the hitatare and hakama. There is one at both ends of the seam joining the sleeves to the body of the hitatare, as well as the top of the center back seam. These replaced the earlier period kikutoji, which look like flattened pompons. As found in the glossary of the Costume Museum.
“衣服の装飾に用いる糸。もとは衣服の縫い目のほころびを防ぐ為のもので、生糸を束ねて開げるとその形が菊のように見えるのでこの名がある。後には装飾として用いられている。また生糸をかえ組紐或いは革で作られてもこの名で呼ばれることがある。”[My Translation: Thread used as clothing decoration. Originally it was a thing for preventing the tearing of the seams of clothing. It has this name (kikutoji1), because the bundled and opened silk looks like a chrysanthemum flower. Later it was used as a decoration. It can be called by the same name even if it is made from braided cord, or leather] (風俗博物館)
The Costume Museum says the following about kotsuyu “直垂や大紋、素襖、長絹などの飾りの紐。…2 水干の菊綴の略化したものと云える。”[My translation: Cords as ornaments on hitatare, daimon, suo, long, and short ginu and other things…It can be said that this is a simplification (abbreviation) of the Suikan’s Kikutoji.](風俗博物館)
Munahimo {#munahimo}
Munahimo are the ties which loosely tie across the chest of the garment. (“Kumihimo for Hitatare Sugata.”)
Hakama {#hakama}
Hakama are traditional Japanese pant-like garment. Anthony Bryant and Joshua Badgely, writers on “sengokudaimyo.com” say the following about Hakama:
“Hakama could be of varying lengths or fullness. The cheapest hakama were made of two panels (that is, made with two widths of cloth, one front, one back) per leg. More common hakama were four-panel hakama, and the fullest and most luxuriant models were made of six panels. The lower number of panels, in addition to limiting the fullness, limited the number of pleats that could be made…Earlier hakama, unlike modern martial arts hakama, had two clearly defined legs, rather than having the pleats overlapping left and right so that one can’t tell where one leg ends and the other begins. Another modern feature is the koshi’ita, the solid panel at the small of the back. ”(Bryant & Badgely, 1 Feb 2016)
During the Heian period, Hakama were worn by both men and women. Hakama became less frequently worn by women except for formal occasions throughout the Kamakura (1185 - 1333) period. (Bryant & Badgely, 1 Feb 2016) For more specifics about who wore Hakama sengokudaimyo.com has the following to say:
“Hakama worn by commoners and labourers in Heian were two panels, and typically only reached to the mid-calf or a bit lower. During the sixteenth century, low-class warriors often wore a knee-length two- or three-panel hakama which were sometimes called kobakama, a terminology problem as regular hakama were also called kobakama in the Edo period owing to the formal nagabakama being the “formal” norm. According to Takada, bushi did not go out in public without wearing hakama over their kosode. By the end of the Momoyama period, when relaxing at home or in the garden, a bushi might wear only a kosode and not wear hakama, but this is an exceptional circumstance; when going out in public, not wearing the hakama would be the height of slovenly or informal appearance, being more appropriate for farmers in the fields, laborers, and poor, low-ranking ashigaru.” (Bryant & Badgely, 1 Feb 2016)
Here is what the Costume Museum in Kyoto has to say about Hakama:
“腰から下につける襞のある衣。「紅の袴」「濃き袴」「白袴」などという。”
[My translation: Clothing with pleats worn below the waist. They are called such things as “Crimson hakama,” “dark coloured hakama,” and “white hakama” ] (風俗博物館))
Materials {#materials}
Tsumugi Silk Kimono Fabric (16” wide bolt) {#tsumugi-silk-kimono-fabric-(16”-wide-bolt)}
I was able to find a kimono fabric on sale which was 16 inches wide, a fairly common period width (Joseph, 2004). The seller, ichiroya.com, attends the Kyoto kimono fabric auctions, and buys older, perhaps slightly damaged items and resells them to persons who are willing to deal with the imperfections. Their comments on the bolt of fabric mentioned that it was a traditional handcraft, and consultation with Colleen Wilson, textiles conservator at the Royal BC Museum, confirmed that it was likely hand woven, and dyed with indigo.
Raw silk fabric for waist ties ()
Silk Thread {#silk-thread}
I used a Japanese 100 weight silk thread, which matched the colour of the fabric well.
Needles {#needles}
I used hiroshima-bari, a type of sewing needle made in hiroshima. Hiroshima Needle Industry Cooperative Association says that this style of needle has been made in Hiroshima for over 300 years. (“Hiroshima the Place of Largest Production of Needles in Japan.”)
Silk Weaving thread {#silk-weaving-thread}
For the cordage, I was able to find a blue grey mulberry silk weaving weight thread. For the sleeve cords I used 17 weighted bobbins with 4 strands of the silk weaving thread. For the collar ties I used 16 bobbins with 2 bobbins on a pair of strands of the weaving threat. This was so that I could braid the loop, then fold the strand in half and braid the rest of the cord. For the reinforcing cord I used 16 bobbins of 2 strands each to braid a length of cord which was then formed into the figure eight knots found on the sleeve seams, the centre back seam, and the hakama seams.
Weighted Bobbins {#weighted-bobbins}
I used a total of 17 weighted wooden bobbins, weighing in at xx grams each. Which is significantly lighter than what is commonly used in Japan today, but I kept the ratio between the weight of the bobbins and the counter weight correct.
Marudai {#marudai}
I used a marudai that I made myself from a round end table.
Construction {#construction}
Garment Construction {#garment-construction}
Japanese looms were narrow, approximately 17–18 inches wide. Because of this, garments were designed with the standard width of the fabric in mind. This width was standardized in the 19th Century to the width of modern kimono fabric, approximately 36cm (14 inches). Before this, a fabric width would be determined for a person, and the size of the seam allowance would be altered to match the width necessary for the person. (Joseph, 2004) Many fabrics from the SCA period are 16–17 inches wide. (Joseph, 2004) This had a couple of benefits, chief among them is that most seams would be sewn on selvedge edges. This coupled with the simple structure of Japanese garments means that the garment can be disassembled for washing (Begin Japanology: Kimono, 8:00).
Hitatare {#hitatare-1}
The pattern for a hitatare is fairly simple. You have a two panel-width body, which narrows in the front, to create an open collar. The sleeves are one and a half panel-widths long. The collar is made from two half panel-width pieces of fabric stitched together and folded in thirds.
Hakama {#hakama-1}
In order to make hakama, one would choose the number of panels per leg and then proceed with the making of the pants. (Bryant & Badgely, 2016) The pieces are then stitched together to form a front and a back. the front and back are joined up the outside of the leg, and the crotch of the garment is dealt with. As Anthony Bryant and Joshua Badgely say on the sengokudaimyo.com page about the construction of hakama:
“Many hakama were made “crotchless” — that is, the underneath seam was left unclosed. This was to allow one’s natural bodily functions (at least the “smaller” ones) without having to disrobe. This was structurally easier to do with the more full hakama, of course. Others had overlapping gussets making a fly, or were just sewn shut with a normal gusset.” (Bryant & Badgely, 2016)
These hakama are eight panel hakama, having four panels per leg. I stitched the panel pieces together to form each of the legs of the hakama. Then while they were still a flat piece of fabric hemmed them. Then I joined the two halves, and put in the crotch gussets. Then, I pleated the hakama down to one panel width at the waistband, on the front and back, and attached the waist ties. The waist ties are made from a silk fabric that I had previously purchased. It is a pale blue-grey colour, meant to be lighter than the colour of the main body of the garment, but not white as they would have been in period.
Decorative Elements {#decorative-elements}
The sodetsuyu, kotsuyu, and munahimo were all done using kumihimo, using a marudai. It is possible that these bits of cordage would have been braided by a loop-manipulation method called ‘kute uchi’. The one real lead that I found regarding the timing of the advent of kumihimo is that “the oldest known braiding book Itokumizu, for both kute-uchi and kumihimo, was written during the 17th Century.” (“‘Kumihimo’, Where Did the Word Come from?”) It appears that it was relatively early in its development at the time of the book’s writing. (“‘Kumihimo’, Where Did the Word Come from?”) For the sodetsuyu, I used a seventeen bobbin flat braid known as ‘shige uchi” it is a half-round flat braid, which I have used in the past for sageo. I find it to be an aesthetically pleasing briad. For the munahimo I borrowed heavily from the documentation for Elliott C. Evans “Kumihimo for Hitatare Sugata.” I started with the loop, which was an eight strand hollow round braid, called “Edo Yatsu” [my translation: The Edo (Tokyo) style eight strand (lit. eight things)]. Then continued with a sixteen strand version of the same braid, called “keiruko no himo”. Lastly, I used the “keiruko no himo” for the kotsuyu.
Differences From Period Practice {#differences-from-period-practice}
While I tried to keep as much as possible within period practice there are a few things which deviated. The first major deviation is the particular type of silk that I used. Tsumugi silk is made from the ends of silk cocoons, and other short fibres. While this type of fabric is very popular currently. In my period, only silk farmers would have been wearing this particular type of silk. However, I found enough fabric for the garments that I wanted to make, in a period width, and it was inexpensive.
Another major difference from period practice is the waist ties. In period, hakama which went with hitatare had white ties. In order to not break sumptuary laws. I decided to use a light blue-grey raw silk for the waist ties. This makes the ties lighter in colour without being white. I also thought that the light blue, might give the impression that the waist ties were at one point white, but that washing had bled the blue die from the rest of the fabric into the waist ties.
The next difference from period practice was my seam finishing. I was lucky in that a lot of my seams didn’t require finishing. There were several seams on my hitatare which did require finishing, these I blanket stitched. This was mostly because it was relatively quick, and secure enough for my needs. That said for my hakama hems I folded the hem over twice and whip stitched it in place. The Japanese in period would sometimes use rice paste to stop seams from fraying. They also basted seam allowances down.. (Schwegel, 2018)
The next difference from period practice was the cordage. As mentioned above ‘kute uchi’ a loop-manipulation braiding method would have been used in period. That said, the braids produced by kumihimo look very similar to ‘kute uchi’ braids. Also as mentioned above, the earliest braid book that we have which includes both methods only dates to the 17th century. (“‘Kumihimo’, Where Did the Word Come from?”)
Works Cited: {#works-cited:}
“Arrival of a Portuguese Ship.” Khan Academy, Khan Academy, www.khanacademy.org/humanities/art-asia/art-japan/edo-period/a/arrival-of-a-portuguese-ship.
Begin Japanology: Kimonos, NHK World, 2012, www.youtube.com/watch?v=uI76y-xXK6E.
Bryant, Anthony J., and Joshua L. Badgley. Nihon Yûsoku Kojitsu Ron — A History of Japanese Clothing and Accessories, 1 Feb. 2016, www.sengokudaimyo.com/garb/garb.html. Anthony Bryant was known in the SCA as Baron Edward of Effingham, O.Pel, O.L.(aka Hiraizumi Tôrokurô Tadanobu no Ason)
Gaspa, Salvatore, et al. Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. Zea Books, 2017.
“Hiroshima the Place of Largest Production of Needles in Japan.” Hiroshima Box Made in Hiroshima Gallery, Hiroshima Needle Industry Cooperative Association, www.hiroshima-box.com/product_en.html?u=hiroshimabari&ct=trd&lang=en.
“Hitatare.” Samurai, wiki.samurai-archives.com/index.php?title=Hitatare.
Joseph, Lisa. “The Kosode.” The Kosode, 2004, www.wodefordhall.com/kosode.htm.
Lisa Joseph is known in the SCA as Saionji Shonagon O.L.
Kinoshita, Masako. “Braids on Early Japanese Banners.” Textile Society of America Symposium Proceedings, 1996. DigitalCommons@University of Nebraska - Lincoln, doi:10.32873/unl.dc.tsasp.0000.
“Kumihimo for Hitatare Sugata.” Kumihimo for Hitatare Sugata, Elliott C. Evans, www.ee0r.com/sca/kumihimo/hitataresugata.html.
known in the SCA as Ishiyama Gen’tarou Yori’ie shonagon and is a member of the Order of the Laurel for his work in Japanese clothing and kumihimo.
“‘Kumihimo’, Where Did the Word Come from?” Blog: Home: Kute-Uchi Revival, greeknakos.wixsite.com/kuteuchirevival/blog-1/kumihimo-where-did-the-word-come-from.
Nagasaki, Iwao. “Textile Society of America Symposium.” Japanese Textiles of Daily Life.
Schwegel, Rosemary. “Unlined Kosode Construction.” Education - Oribe Tsukime, 2018, sites.google.com/site/oribetsukime/classes.
Author known in the SCA as Oribe Tsukime
風俗博物館 . “主な用語解説.” 日本服飾史, Yohei H. Izutsu, costume.iz2.or.jp/word/h.html.
This is the website of the Costume Museum in Shimagawa-shi in Kyoto. The article title means “Main Glossary” The website title means “Japanese Clothing History”
風俗博物館 . “直垂姿の武士.” 日本服飾史, The Costume Museum, costume.iz2.or.jp/costume/537.html