Technique – supports and reserves

The supports on which the reserves are made vary according to the raw material used and its treatment, and according to the structure of the fabric. They reflect availabilities in the natural environment but also aesthetic and cultural choices.

Two large groups of reserve can be seen : reserves that are tied and others that are sewn. They can be made without a mark or, on the contrary, follow a pattern inscribed beforehand in or on the fabric. The link itself is by nature variable : A thread of cotton, a strand of raffia, a strip of plastic or rubber, etc.

  • locally woven cotton

    locally woven cotton

  • industrial cotton

    industrial cotton

  • plaited raffia

    plaited raffia

  • plaited pandanus

    plaited pandanus

  • woven silk

    woven silk

  • woven camel wool

    woven camel wool

  • sheep's wool and sprang

    sheep's wool and sprang

  • double knot

    double knot

  • tying

    tying

  • tying pinched fabric

    tying pinched fabric

  • sewing and gathering

    sewing and gathering

  • reserve by sewing and concealment

    reserve by sewing and concealment

  • Embroidery

    Embroidery

  • tied stencil

    tied stencil


woven silk

woven silk

Part of a woman’s kimono belt, obiage Japan, 20th century Silk 71.1961.98.22

Crepe chiffon taffeta, preparation of reserve by thin knotted tying, tatebiki kanoko shibor,i small round dots forming a traditional star pattern, then dyeing in a pink bath. Amongst the spinning processes, crepe twisting, that is, a very strong twisting of the yarn, gives a very large resistance and creates a chiffon that is sought after for its texture and good reaction during the preparation of reserves and regular dyeing : in fact, it maintains creases and very readily absorbs the dyeing agents. One also finds wool crepe yarns. In Japan, crepe taffeta is obtained from strongly twisted weft silk which in contrast to twisting, additionally gives great subtlety and adds depth, resilience and éclat to the dyed fabric. Placed in such a way to go slightly above the obi, or large belt now firmly women’s kimonos, this piece contributes by its colour to the harmony of the clothing. 136x27 cm