[:en]Boro stitching, similar to sashiko stitching but not to be confused with, is a Japanese style of craft and stitch. Each piece of Boro clothing comes with an incredible story and wealth of experience as these garments are not thrown away until the cloth is used completely until it is worn out entirely. This style of stitching became a necessity for those who were not of noble status as cotton was so expensive for the Japanese people living during the 18th and 19th centuries, therefore, these pieces where passed down the generations. Those in lower classes would spin their own yarn.  This yarns where hard to form into fabric meaning garments would unravel so would have to be stitched and patched back together, therefore, increasing the strength of the garment and giving it a new lease of life and injecting a sense of Wabi-Sabi into the pieces appearance. The material it’s self would usually start of as a Kimono and gradually over time would shift function, becoming basic clothing, night-wear, a cushion cover then a bag, eventually metamorphosing into a  dust cloth.  ‘Waste not, want not’ is evident in this practise which leads onto the Japanese concept of Mottainai which means for one to have a deep regret for the waste of anything from an unused garment to a lazy boy not living up to his potential. (Something I will look at further on in my sketchbook)

Traditionally a Boro garment would be made up of white stitching and light indigo blue and/or brown patches due to the lower classes, social limitations, seen in figures 14, 17 and 18. In modern day the traditional style of has been contemporised and bright colours are now used, pictured in figure 16. Today Boro garments are sort out as collectables due to their richness in culture and historical interest. I was interested in this style of craft as its process is focused on the idea of time. The amount of time taken to complete the craft allows the maker to truly connect with the piece in a unique and beautiful way which is then passed onto the next generation and therefore a part of the maker. I appreciate this form of craft. It allows the material to have hidden and an in-depth meaning which goes beyond its everyday function.

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