Obi (sash)

History of the Obi

The obi evolved gradually from the eighth century. It took its present elaborate form in the 1700's when Japanese textile art reached a new high.

Created to reflect the seasons, as well as different occasions, obi come in an astonishing array of colors and designs, from casual to ceremonial. Although fabric varies as well, the most interesting ones are of woven silk, representing Japanese textile design at its finest.

Since kimono do not come in varying lengths, the extra material is folded over at the waist and concealed by a wide sash, i.e., the obi. The obi is often considered a more important part of a women's attire than the kimono itself, and accessories are chosen to enhance the design of the obi. A good obi sometimes costs many times the price of a kimono.


Styles of Obi

Nishiki (Brocade) obi

The most elegant obi are made of brocade. Woven by hand with utmost care, brocade is a sumptuous fabric making use of gold and silver thread. The usual patterns are flowers or birds, or are taken from ancient geometrical designs. As almost all brocade comes from the Nishijin district of Kyoto, it is commonly called "Nishijin obi material." This brocade is woven into maru obi for bridal outfits, fukuro obi or nagoya obi. The weft use gold or silver foil which must be inserted into the weave one strip at a time with a bamboo rod so that it will not twist.

Tsuzure (Tapestry) obi

Worn at such dress-up occasions as weddings, tapestry obi are the ultimate in luxury. Not only at home, but also abroad, the dexterity of Japanese tapestry weavers is acclaimed, and the opulent handmade products are as renowned as those of the Gobelin works. The stunning stage curtains found in some famous Japanese theaters are also among the masterpieces they create.

While tapestry is said to have been born in Babylon, magnificent examples in the Shosoin Imperial Repository in Nara reflect that it was known in Japan some 1,300 years ago.

Although most weaving has now become mechanized, tapestry still depends on the fingernails of the weaver. The design is drawn on tracing paper, then transferred in reverse to another sheet on which the colors are worked out. This is placed directly under the warp of the loom so that the weaver can weave in the colors exactly as they appear on the draft below. Each color is worked with a separate shuttle. The weaver compacts the yarn into the weave by raking it with the fingernails. To do this work effectively, the nails are allowed to grow and are filed like the zigzag teeth of a saw. Thus they act in the same manner as a comb. Primitive though this technique may be, it is essential for tapestry weaving.