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A yukata (浴衣, lit. ' bathrobe ') is an unlined cotton summer kimono, [1] worn in casual settings such as summer festivals and to nearby bathhouses. The name is translated literally as "bathing cloth" and yukata originally were worn as bathrobes; their modern use is much broader, and are a common sight in Japan during summer.
Kasuri (絣) is the Japanese term for fabric that has been woven with fibers dyed specifically to create patterns and images in the fabric, typically referring to fabrics produced within Japan using this technique. It is a form of ikat dyeing, traditionally resulting in patterns characterized by their blurred or brushed appearance. [1]
Humanity and life lie at the intersection of the natural and the supernatural, according to the underlying Kuba myth. As a result, rectilinear lines in Kuba art depict natural patterns. Both in art and nature, these lines occasionally disrupt what we take to be geometric order. [5] The improvised patterns are mostly made using three methods:
Hakama are worn with any type of kimono except yukata [2] (light cotton summer kimono generally worn for relaxing, for sleeping or at festivals or summer outings). While glossy black-and-white striped sendaihira hakama are usually worn with formal kimono, stripes in colours other than black, grey and white are worn with less formal wear.
A-2 jacket; A-line (clothing) Abacá; Abaca slippers; Abacost; Abaniko; Abarka; Abaya; Abolla; Aboyne dress; Academic dress; Academic scarf; Academic stole; Achkan ...
A person working in slip stitch crochet can follow a knitted pattern with knits, purls, and cables, and get a similar result. [39] It is a common perception that crochet produces a thicker fabric than knitting, tends to have less "give" than knitted fabric, and uses approximately a third more yarn for a comparable project than knitted items.
Crochet, embroidery, knitting, lace, quilting and felting are all commonly found in wearable art pieces. Crochet remained a homemaker's art until the late 1960s, as new artists began experimenting with free-handed crochet. This practice allowed artists to work in any shape and employ the use of colors freely, without the guidance of a pattern. [15]
Malaysian batik patterns tend to be larger and simpler, making only occasional use of the canting for intricate patterns. They rely heavily on brush painting to apply colours to fabrics. The colours are usually lighter and more vibrant than the deep-coloured Javanese batik popular in Indonesia.