BOROnow

Japanese indigo "Boro" about 150 years old.  Those who couldn't afford a new roll of cloths aquired scraps of cotton kimonos and patched and stitched them to make work wears. Worn and repaired again and again from generations to generations.  Boro (ぼろ) are a class of Japanese textiles that have been mended or patched together. The term is derived from the Japanese term "boroboro", meaning something tattered or repaired. 

The term 'boro' typically refers to cotton, linen and hemp materials, mostly hand-woven by peasant farmers, that have been stitched or re-woven together to create an often many-layered material used for warm, practical clothing. Historically, it was more economical to grow, spin, dye, weave and make one's own clothing over buying new garments, and equally as economical to re-use old, worn-out clothing as fabric for new garments; warmer fibres such as cotton were also less commonly available, leading to the development of layering as a necessity in the creation of lower-class clothing.

Boro textiles are typically dyed with indigo dyestuff, historically having been the cheapest and easiest-to-grow dyestuff available to the lower classes. Many examples of boro feature kasuri dyework, and most extant examples of boro today are antiques or modern reproductions made as a craft project, with the introduction of cheaper ready-to-wear clothing to early 20th-century Japan rendering the creation of boro mostly unnecessary. 

   CLICK ON AN IMAGE TO ENLARGE

  CLICK ON AN IMAGE TO ENLARGE

Yet with water thirsty cotton crops producing textiles that are increasingly being conisgined to LANDfill boro, and like traditions in other cultural sttings/realities, does offer a paradigm within which to imagine an alternative 21st C WORLDview.

CLICK HERE TO GO TO SOURCE

    CLICK ON AN IMAGE TO ENLARGE

Here we might consider the traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centred on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete". It is a concept derived from the Buddhist teaching of the three marks of existence (三法印, sanbōin), specifically impermanence (無常, mujō), suffering (苦, ku) and emptiness or absence of self-nature (空, kū). Characteristics of the wabi-sabi aesthetic include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and appreciation of the ingenuous integrity of natural objects and processes.