KOGIN

TECHNIQUE
Sashiko, from sashi = to stitch, uses a running stitch sewn, 5-8 evenly spaced stitches per inch, in horizontal, vertical and diagonal lines. Most patterns, repeating or interlocking, are from nature, stylized patterns of plants, animals, clouds and waves. Before the use of graphs and charts, designs were given names - soybean, cat's eye, running waters - which helped a stitcher recall the patterns from memory.

Kogin embroidery, a variation of sashiko, is worked on evenweave fabric with stitches of uneven length
in an over/under darning pattern and only stitched horizontally. Designs are usually diamond shaped.
Name derived from koginu, a hemp fabric used in short working jackets.

Both techniques were traditionally done with white thread on indigo fabric but today a variety of threads and colours are used. Kogin embroidered panels were attached to the upper front and back of the kimono providing strength and durability and on leggings, where exposed, needed warmth.

Significance of Kogin embroidery may be regarded on three levels.
1.The decorative designs create a striking effect and display the embroiderers’ skill.
2.Symbolically the patterns from nature, display a reverence for the environment, which protected the wearer while working outside.
3.The position of embroidery at neck, and front of bodice & leggings was believed to protect the body.

HISTORY
It is thought that the Japanese made contact with China between 300BC and 300AD and that sashiko patterns were derived from Chinese designs. Many patterns are not native to China, but brought to China
via the ‘Silk Road’ from Persia, India or Greece. The oldest surviving sashiko design is found on a
Buddhist robe from 750AD.

The origins of Kogin can be traced to the northwestern tip of Honshu - Japan's main island – in the remote and cold Aomori Prefecture in the north west, during the feudal period (1590-1871), where it was too cold to grow cotton, which made a warmer fabric than other natural fibres.

Imported cotton, a rare and treasured commodity, was reserved only for the nobles. Laws prohibited peasants from owning cotton clothing so their garments were made from native plants - wisteria & hemp - dyed with indigo to strengthen the fibers. Stitching over with hemp & later imported cotton thread added warmth and strength to the garment. It was discovered that garments became much warmer and functional if several layers of fabric were stitched together. Techniques, ‘little running stabs’ and darning were used to patch worn clothing. New patches were layered on older patches and so Japanese quilted fabric was born.

A new garment was worn for weddings, seasonal festivals and funerals. As it showed signs of wear, it became work clothing. With minimal resources, the life of the garment was extended as long as possible. Very worn areas of cloth were repeatedly reinforced & patched with stitching on extra fabric.

Reference:
Piecework, September/October 1994
The Traveling Thread, USA publication © 2003 Beth Gardner
Common Threads: Catalogue for WA exhibition 1999 by S. Leighton-White & Wendy Lugg, Fremantle Arts Centre.