NATURAL STATE
Byline: Daniela Gilbert
NEW YORK — Akihiko Izukura’s formula for textile design is simple: Take techniques that are over 2,000 years old and continue to move them forward.
Hailing from Nishijin, Japan, near Kyoto, Izukura learned his craft early on from his family, which has been designing textiles for centuries — his ancestors created kimonos and obis for the imperial family.
His work, on display at the Museum at the Fashion Institute of Technology through Sept. 15, includes about 75 pieces that range from hand-braided necklaces and wall hangings to clothing and scarves, all in silk.
First hand-dyed, using natural materials from insects and plants, the silk is then transformed using techniques such as kumihimo, a form of braiding that dates back centuries. In kumihimo, threads are twisted together to create a rope-like form similar to a DNA double helix.
A strong connection to nature is evident throughout his work. The colors used are taken from the earth, sea and sky, while textures are kept soft and subtle. In one piece, a wall hanging entitled “Kafurenkon,” reeled and degummed silk threads were worked into a free form of weaving, braiding and knitting and then dyed in purple and pink tones using cochineal, a red dye consisting of the dried bodies of female cochineal insects, combined with the mordant of camellia tree ashes.
Izukura said the wall hanging was “inspired by the ocean crashing against the rocky coast along the coast of Japan. Nature — soil, rocks, erosion, space and time — all expressed.”
In another reference to nature, the designer added that he believes that the thread used in his pieces reflects the circular movement of the universe.
“I wish to project nature’s beauty,” he said, “not just to focus on things that are cosmetically beautiful.”
Izukura also aims to preserve his natural surroundings. In addition to the use of natural fibers and natural dyeing materials, Izukura is also proud of his “no- waste” philosophy — leftover silks and dyes are used by the designer to develop ceramic glazes and handmade paper.
Lynn Felsher, curator of textiles at the museum, spent 1 1/2 years putting the exhibition together. She finds Izukura’s attitude toward design refreshing.
“He brings a respect to fabric that you don’t always see,” she said. “His work is so special because by using the ancient techniques that he does, he is bringing continuity to them and taking them into the future.”
She pointed out a kimono created by Izukura in purple and black ombre. It features a technique called kara-kumi, an ancient Japanese knotting process known by just a few artists today.
“The technique really is interesting,” said Felsher. “The pattern of the kimono dates back to the sixth century and the gauzy silk he used is woven with gold thread. Really exquisite.”
The curator also pointed out that, come September, there will be several workshops for undergraduates and graduates of the school, as well as the general public.
“So far, we’re planning just one workshop for the public in conjunction with the Japan Society,” she said. “It will be a hands-on experience with the artist. The interest already is exciting.”