26 1 / 2012

kimono-nao: IKKO IKKO tends to take traditional color sets and layer them with regard to proportions and texture to make them very very modern. Here the obi (black) is wrapped with at least three other obiage and strips of fabric. The benefit of using an obiage with a motif (such as this one with the peony) is that it breaks up the thick band of color and gives the illusion of the kimono’s design bleeding up into the obi. The tie of the obijime does the same on the other side. The dangling tassel of the pouch in her collar does the same for the upper area. Cleverly, this kimono is arranged so there are no perfect, unbroken horizontals in this obi. This gives the eye something to rest on (a lot of horizontals) BUT keeps them from breaking up the diagonal/bouncing rhythm of the kimono by interrupting each of them and giving you something to look at. I appreciate IKKO’s sensitivity to texture, and this piece is a great example.

kimono-nao:

IKKO

IKKO tends to take traditional color sets and layer them with regard to proportions and texture to make them very very modern. Here the obi (black) is wrapped with at least three other obiage and strips of fabric. The benefit of using an obiage with a motif (such as this one with the peony) is that it breaks up the thick band of color and gives the illusion of the kimono’s design bleeding up into the obi. The tie of the obijime does the same on the other side. The dangling tassel of the pouch in her collar does the same for the upper area. Cleverly, this kimono is arranged so there are no perfect, unbroken horizontals in this obi.

This gives the eye something to rest on (a lot of horizontals) BUT keeps them from breaking up the diagonal/bouncing rhythm of the kimono by interrupting each of them and giving you something to look at.

I appreciate IKKO’s sensitivity to texture, and this piece is a great example.

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