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Photo by Yasuhide Kuge

KUMIHIMO: The Art of Japanese Silk Braiding by DOMYO is the first exhibition in the United States toexplore the history and art of Japanese silk braiding, or kumihimo (“braided cords”). The JAPAN HOUSE
touring exhibition is produced by Yusoku Kumihimo Domyo (Domyo), a Tokyo-based company that has been
making braided silk cords by hand since 1652.

The tradition of kumihimo began in Japan in the sixth century in
the Imperial Court and Buddhist temples, and by the ninth
century, during the Heian period (794–1185), it reached its
golden age. Braided silk cords of many styles and patterns wereused for aristocratic costumes, interior furnishings anddecorations, musical instruments, and religious equipment fortemples and shrines. This historical survey presents theevolution of kumihimo over centuries in Japan. With materials
provided by Domyo, the exhibition introduces some of the mostimportant braiding techniques and tools and shows innovative
ways kumihimo is used today.

braiding stands, frames over which the strands of thread are laid
during braiding. Large-scale marudai (“round stands”) and takadai(“tall stands”) strung with colorful silk strands and bobbins evoke
the process of silk braiding. Videos, photographs, silk samples,
and tools help visitors to learn about the structure of kumihimo
braiding. Aspects of the kumihimo process include:

Part 1: The History of Kumihimo in JapanThe first section of the exhibition (in the JHLA sub-gallery)presents a historical overview of braiding in Japan. It includes
information about the earliest evidence of simple braiding fromancient Japanese burial sites dating to the early Jomon period,
about five to six thousand years ago. Around the sixth century,complex braiding techniques and silk threads were introduced toJapan from the Asian continent. On display are replicas of silk
braids from the Nara period (710–794) preserved in the Shosoin
imperial repository and the Horyuji Buddhist temple in Nara.
During the Heian period (794–1185), braiding techniques
became more elaborate and silk-dyeing techniques advanced,
ushering in a golden age of kumihimo.

Braiding
Braiding is achieved by diagonally overlapping a set of silk threads
that are tied off at one end and passed through the central hole ina round stand, or marudai, or the center of a tall, rectangularstand, or takadai. The threads are separated into groups ofstrands, each with a wooden bobbin attached to the end.

In the Kamakura period (1185–1333), many new styles andtechniques emerged to meet the needs of the powerful warrior
classes—from wrapping sword handles to tying together thelacquered metal plates of samurai armor. Though the productionof kumihimo declined during the fifteenth and sixteenth centuries,
it flourished again during the Edo period (1603–1868) as braids
for carrying and wrapping the scabbards of swords, which at thetime were mostly worn as status symbols and for ceremonies.
In addition, silk cords became prominent elements of thekimono ensembles worn by women of different social classes.
Decorative bands called obijime were tied over the obi to tighten
it, and similar cords were used to hold objects such as medicine
containers, tobacco pouches, and portable writing sets from theobi. Many new kumihimo braiding styles and patterns arose in
response to the growing demand in thriving urban centers. On
display are examples of these diversely patterned cords inceremonial sword furniture and in clothing.
In the Meiji period (1868–1912), swords were prohibited andkumihimo production shifted primarily to obijime worn withkimonos.
Part 2: The Structure of Kumihimo
The second section of the exhibition, which occupies a large
area of the main gallery, focuses on the structure of kumihimo
braiding. The most important tools in kumihimo are the wooden

Silk Dyeing
Dyeing the silk yarn is the first step in making kumihimo. Eachstrand of thread is dyed one color at a time by Domyo craftspeople,
allowing for depth of color and a rainbow of different combinations.

Shapes, Styles and Patterns
There are hundreds of ways to braid kumihimo , but there are twomain styles: the wide, flat hiragumi style, braided using a takadai,
and the rounder kakugumi style with a thicker cross section madewith a marudai. The delicacy of the final product depends on thetemochi (the number of strands of threads attached to eachbobbin) and the quantity and size of the bobbins. By increasing thetemochi and reducing the bobbin amount, braiding can performed
more quickly, but the finished cord will be larger and lessrefined—and vice versa. The patterns and designs braided into thecords are created by changing the number of colors and thegaraoki, the order in which the threads are arranged.
Part 3: The Future of Kumihimo
In the final section, the exhibition focuses on the ways in which
braided silk cords are incorporated into contemporary fashion anddesign. The section includes works that highlight new kumihimo
designs by Domyo, clothing reworked by garment modelist Akira
Hasegawa that encompasses kumihimo braiding, and an
installation by the UTokyo Tachi Lab at Tokyo University.
For over 350 years, Domyo has adapted to social and culturalchanges and found new applications for their kumihimo products.
Today, the company responds to and leads trends in fashion andcontinues to look for other markets for braided silk cords—
including jewelry, neckties, and other accessories. In industry,
traditional kumihimo techniques are being applied to braiding withcarbon fiber and fiber-reinforced plastic (FRP).

Presented by JAPAN HOUSE Los Angeles
Exhibition Production: Yusoku Kumihimo Domyo (Kiichiro Domyo)
Curation: Mari Hashimoto
Exhibition Design: Rei Mitsui