Hawaii – Fashion Historia

Mermaids and Silkworms: A Review of Akihiko Izukura: The Way of Natural Textiles

February 7, 2017 No Comments

A recent vacation to Maui afforded me the opportunity to visit the Maui Arts & Cultural Center to see their current (and staggeringly beautiful) exhibit “Akihiko Izukura: The Way of Natural Textiles” (on view through March 19, 2017).

Stepping into the exhibit we were greeted with a large installation of hand-made silk orbs suspended in a large silk tube (“Eternal”). The desire to step inside the tubes and explore was strong, and we quickly learned that if we removed our shoes we could do exactly that.

It was a magical experience to be in, and surrounded by silk made by tens of thousands of silkworms and hand-spun on an Edo period (1603-1868) spinning wheel by master craftsman Akihiko Izukura in only three months. Not surprisingly, “Eternal” was created to reflect the artists inspiration from the natural world, employing natural shapes, dyes, and materials. By contrast, the suspended panels of fabric surrounding the tube, 24 in all, took the artist three years. These panels show a variety of textures and patterns, but all created natural feeling permeable membranes.

The reality of his work was informed by a small case containing the spinning wheel, dyes, silk-worm cocoons and other materials used with information on the craftsman’s history and process.

“Akihiko Izukura was born in 1942 to a family with a long history as Obi weavers in Nishijin, Kyoto, Japan. After formal studies at university and working in the family textile business he began his own personal journey into Ito-Shirabe (research on thread) learning complex ancient structures of weaving and braiding, mastering techniques of the Edo period that were nearly lost. His experience took him further into the ancient complicated techniques of ‘Ra’ (gossamer) and “Kara Kumi’ (braiding).”

“Years of research and hard work led him to his current philosophy of creating fabric or garments honoring sustainability and symbiosis with nature and the silkworm. His elaborated dialog within weaving, netting, braiding, entwining and dyeing led him to discover relationships between nature and man. his current work Senshoku-do includes eight methods: dyeing, reeling, spinning, plying, with four textile methods of weaving, braiding, netting and entwining.”

No wonder I was drawn to this work! Ancient techniques, research, and deep study of the history of thread certainly explained the amazing pieces on display. Quiet contemplative music filled the galleries, and as we left the larger objects behind we came to objects with more obvious purposes and more commercial appeal. Beautiful wall hangings, scarves, Kimono, obi, dresses, and jackets created using the same techniques (some of which were for sale).

Textures, colors, and woven shapes all seemed to reflect the experience we had been having in Maui – reminiscent of water, fish, seaweed and even mermaids. Mariano Fortuny and Issey Miyake both felt referenced in the creation of the garments and textiles, especially the mermaid-like dresses that hung suspended between large swaths of fabric. A jacket in yellows and oranges at once reminded me of Fortuny, Miyake, and the way light filters through the ocean.

I left the exhibition feeling as if I’d been in an ethereal underwater world with shapes that reminded me of some of the more challenging knitted pieces I’d attempted to create myself. If you happen to be so lucky as to be in Maui – run don’t walk to see this marvelous show. (The exhibition catalog sold you in less than 3 weeks).

For an arm-chair tour, visit the gallery below:

Historic Costume in California State Parks: Charmian London

Charmian London, ca 1910 (Via California State Parks)

This weekend, I was lucky enough to attend a lecture and tour of Charmian London’s clothing collection at the Jack London State Historic Park in Glen Ellen, CA – organized through the Western Region of the Costume Society of America.

Jack and Charmian London circa 1911, possibly at Beauty Ranch. (click for source)

Those in attendance were treated to a lecture by Jo Ann Stabb, who conducted an assessment of this collection of over 100 artifacts in 2002-3 for the California State Parks. Several pieces from the collection were on display at the Sonoma Developmental Center, including some lovely theater coats, evening shoes, a lace blouse and an evening dress. The lecture highlighted Charmian’s independent spirit and outgoing nature, and drew links between her wardrobe and the larger fashion world of each era.

Many of the garments in her collection draw strong correlations with the House of Lucille and with Paul Poiret- though it’s not likely that she purchased items from these makers. Jack London’s mother was an accomplished seamstress, as was Charmian herself.

At various times Charmian’s style was inspired by the Aesthetic Movement and Art Nouveau (especially during her bohemian days in Berkeley and Oakland), and often by her travels abroad with Jack (including trips to Hawaii and the tropics, where she would don Mother Hubbard style dresses and Kimono’s). Japanese, African and other ethnic influences can certainly be found in extant photos and clothing pieces in the collection. Not surprisingly, she had a love of fur – especially trimming hats and garments (reminiscent of Lucille).

The incredibly informative and well attended lecture was followed by lunch and a visit to the Jack London State Historic Park to see the House of Happy Walls (where Charmian’s closets were on view). Park Rangers were on hand to answer our questions, and a park volunteer played music on Charmian London’s piano – much to the delight of the visitors. (For more of my photos from this event, see the gallery at the end)

100_1046wtmk — Charmian London in Berkeley Bohemian attire circa 1909.

What made this event all the more bittersweet was the news that came out last Friday: that the Jack London State Historic Park is one of many on a proposed list of park closures due to a $22 million California general fund budget cut. According to the San Francisco Chronicle, those closures are expected to begin in September and have already been approved by the California Legislature.

It will be the first time in California’s history, including during the Great Depression, that state parks have closed because of budget cuts and parks that remain open also will have reduced services.”

What isn’t obvious to many, is that some of these parks also house historic collections of costumes and textiles (as well as other artifacts) – and access to these collections would also be diminished. Along with Jack London SP, and close to my heart, the Fisher Hanlon House (a historic home in Benicia Capitol State Historic Park) has a costume collection and would also be closed.

Benicia is my hometown, and my first experience with a historic costume collection was at the Fisher Hanlon House. According to one parks employee “Parks that do end up being closed will be in a caretaker status, and the collections will still be preserved.” While officials weren’t able to confirm which parks had historic costume and textile collections, they indicated that the Governor’s Mansion and Leland Stanford Mansion both include displays of historic dress. Upon further research, it seems that the Petaluma Adobe State Historic Park also has historic costume, and is scheduled to close in September (For a complete list of California collections housing historic costumes and textiles, see Clothing And Textile Collections in the United States: A Csa Guide).

Now if you want to do something to help preserve these collections that are important to California’s History, I’d advise a donation:

Click here to donate to the California State Parks Foundation

Gallery of Photos: