textileadmirer-blog

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Japanese Propaganda Kimono in Metropolitan Museum of Art

Omoshirogara (literally, ’interesting’ or ‘novelty’ designs) is a term applying to designs with scenes of contemporary life. Kimonos with omoshirogara became very popular in Japan between 1900 and 1945. Some typical designs of this period include new economical, political and social trends, such as liners, airplanes and cars, industrial landscape with skyscrapers and factories, night life, jazz parties.

Kimono with designs that primarily concentrate on military topics in Japan in 1931-1945 are commonly known as propaganda kimono. Some of the most brilliant samples of omoshirogara garments can be found in the Metropolitan Museum of Art. 

Woman’s Kimono with Planes and Hinomaru Flags, ca 1940s

This rich silk garment is a rare example of woman’s propaganda kimono. Decorated with bombers, Hinomaru flags (flag of Japan), crenellations of the Great Wall of China, and barbed wire on X-frames, it creates a striking effect. 

Man’s Under-Kimono (Nagajuban) with Scene of the Russo-Japanese War, early 1900s

The pattern depicts the scene from the Russo-Japanese War - the war between the Russian Empire and the Empire of Japan, when after sieging Port Arthur, the Russian army surrendered. 

Man’s Under-Kimono (Nagajuban) with “Italy in Ethiopia” Symbols, ca 1935-45

Although both Italy and Ethiopia were members of the League of Nations, in 1935 the League was able neither to stop Italy nor to protect Ethiopia from Italy’s invasion. The Italian actions were highly promoted by the Japanese, resulting in numerous ‘Italy in Ethiopia’ designs. The pattern of this kimono includes Italian flags, tanks, maps, silhouettes of soldiers and airplanes.

Boy's Kimono with Dogs, Horses, and Pigeons, 1940s

At first glance this omoshirogara kimono looks very peaceful, too far from military allusions. But look closer: a pigeon is wearing a camera attached to its collar, the hieroglyphs under the dog read ‘hinomaru’ (rising sun), and under the horses - ‘aikoku’ (patriotism). The pattern depicts animals’ role in Japan’s Manchurian war.

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Wearing Propaganda: Soviet Textiles in 1920s-early 1930s

As soon as the Soviet Union was formed, a history of the Soviet propaganda began. Being later regimented and standardized, the first decade of its existence was prominent and colorful. Propaganda of this time is characterized by experiments, searching of new forms for artistic expression. Soviet artists, poets, architects and philosophers were looking for unprecedented ways to glorify the newborn country. Among them were also textile designers who transferred their talents into fabrics. 

Marching Pioneers by M. Khvostenko, 1920s-30s

In 1925 the International Exhibition of Modern Decorative and Industrial Arts was held in Paris, where the USSR presented their architecture and design achievements. In particular, textile designs by the artist S. Burylin received the golden medal.

Hammer and Sickle patterns by S. Burylin, 1924-25, 1928

Patterns were designed for the most popular fabrics - chintz, satin, flannel. Among widespread designs were Soviet symbols (hammer and sickle, red star, red flag, Moscow Kremlin), industrialization themes (machines, factories, turbines, electric lamps), military (Soviet army, aviation and fleet). 

Here are some of the most prominent samples of the Soviet textile propaganda.

Workers of the World, Unite! by S. Loginov, 1925-26

This is not just a flower pattern as it may seem from the first sight. Workers of the world, unite! - is written on the petals, USSR - on the buds.

Five-Year Plan in Four Years by D. Preobrazhenskaia, 1930

The five-year plan was a list of economic goals to be achieved by the USSR. It primarily concentrated on industrialization and militarization. A popular propaganda motto was Five-year plan in four years! - obliging Soviet citizens to work more. Those who were behind the schedule and didn’t complete the plan in four years were punished.

Demonstration by unknown artist, 1929

Demonstration of soviet soldiers with red flags. The whole pattern made in red underlines its strong communist symbolism. 

Village Komsomol by K. Schuko, 1926-28

Komsomol was a political youth organization in the USSR. The word is an abbreviation of the Russian KOMmunisticheskiy SOyuz MOLodyozhi - Communist League of Youth.

Fireworks by K. Sokolov, 1930

Global industrialization was the core of the Soviet people’s life and one of the pillars of the USSR propaganda. Not surprisingly, the motifs of industrialization and electrification were widespread in textile designs. The patterns of factories, gears, mechanisms, machines, bulbs, electric stations decorate fabrics and simultaneously glorify achievements of the Soviet Union.

Anvil, Hammer, Transmission by unknown artist, circa 1930

Construction by unknown artist, 1920s-30s

Railway and Camel Caravans by unknown artist, circa 1930

Morning of New Life by P. Leonov, 1930

Lightbulbs by A. Golubev, 1930

Electric Coils, Stars, Sickles and Hammers by unknown artist, 1920s-30s

High-Voltage Lines by A. Golubev, 1930

Transport and Stars by S. Burylin, 1931

Propellers by unknown artist, 1928-31

Credits: these textiles and many more can be found in a wonderful Album of Propaganda Textiles by Ivanovo textile factory

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Dorset Buttons: Beauty in Details

Dorset, a county in the South of England gave a name to the whole industry that reached a peak of popularity in the 18-19th centuries.

According to the story, Abraham Case who was born in Cotswolds (Dorset county) and was a professional soldier, in 1610s lived in Europe. There he saw how other soldiers replaced buttons on their uniforms - a piece of cloth was twisted over a button and then tightened with a thread. As Abraham returned to England, he married to a local Dorset girl and together they set up Dorset buttons industry. 

Their business spread, and soon the whole county was associated with buttons production. In the 18th century more than 4 thousand people were involved in this industry. Later however the handmade Dorset buttons were replaced by machine-made buttons, and production gradually declined. The last member of Case family, who was connected with button industry, died in 1912. 

For a long time Dorset buttons technique was considered to be lost, but in 1970s it was revived, and now it’s gaining more and more popularity.

For making a button, yarn or thread is repeatedly bound over a ring. It is believed that the first Dorset button was made of a sheep’s horn cut into thin disks. Today for button making wire rings and wooden molds are widely used.

All Dorset buttons fall into four main categories:

1) Wheels, known as well as Cartwheel, Crosswheels, Basket weave and Yarrells, are made on a metal ring, and are the most famous type of Dorset buttons. As a name implies, they resemble a wheel.

2) High Tops and Dorset Knobs - first Dorset buttons ever made. They usually were tiny, about 9 mm in diameter at the base, and were very popular: the story goes that King Charles I wore a waistcoat with Dorset buttons to his execution, and Queen Victoria owned a gown trimmed with Dorset Knobs. 

3) Birdseyes and Mites - made of fabric and thread only. Fabric is rolled in such a way that it forms a hole in the center.

4) Singletons, a name derives from the Singleton family who invented this style in the 17th century. A piece of fabric covers a metal ring and later can be decorated with embroidery.

Today Dorset button are widely used in clothing, jewelry making, home decoration and more. Fantasy has no limits! 

Credits: a great deal of information and pictures are taken from a wonderful Henry’s Buttons site - the main source of my inspiration.