{"id":7701,"date":"2026-10-29T19:22:19","date_gmt":"2026-10-29T10:22:19","guid":{"rendered":"https:\/\/en.kogei-japonica.com\/media\/?p=7701"},"modified":"2026-10-29T19:22:19","modified_gmt":"2026-10-29T10:22:19","slug":"sashiko-boro","status":"publish","type":"post","link":"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/","title":{"rendered":"Sashiko vs Boro: Key Differences and a First Mending Guide"},"content":{"rendered":"<p><b>Sashiko is a Japanese stitching technique and practice used to reinforce and decorate fabric; boro refers primarily to textiles shaped by repeated use, patching and repair. The two are closely connected, but they are not the same.<\/b><\/p>\n<p>The cuff of a favourite shirt has begun to wear through. You would like to mend a small hole, but you are not sure how to choose the thread or a patch. At moments like this, photographs of sashiko or visible mending can be what finally gets you to pick up a needle.<\/p>\n<p>Treat sashiko, boro and visible mending as one and the same, however, and both the cultural background and the choice of repair method become blurred. Below, we untangle the three terms, take surviving garments from Tohoku in northern Japan as a guide, and look at the materials and steps involved in a first mend.<\/p>\n<div class=\"box3\">\n<p><b>Key points<\/b><\/p>\n<ul>\n<li>Sashiko can be understood as a stitching technique and practice, boro as cloth that has been used and handed on, and visible mending as an approach that leaves the repair on show.<\/li>\n<li>Historical boro and contemporary work inspired by it are easier to understand when their origins are explained separately.<\/li>\n<li>A first mend begins not with choosing a pattern, but with checking the condition of the cloth, its fibre and how it will be used after repair.<\/li>\n<\/ul>\n<\/div>\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_73 ez-toc-wrap-center counter-hierarchy ez-toc-counter ez-toc-white ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#How_Do_Sashiko_Boro_and_Visible_Mending_Differ_Separating_Technique_Cloth_and_Practice\" title=\"How Do Sashiko, Boro and Visible Mending Differ? Separating Technique, Cloth and Practice\">How Do Sashiko, Boro and Visible Mending Differ? Separating Technique, Cloth and Practice<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#What_Is_Sashiko_Stitching_to_Reinforce_and_Decorate_Fabric\" title=\"What Is Sashiko? Stitching to Reinforce and Decorate Fabric\">What Is Sashiko? Stitching to Reinforce and Decorate Fabric<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#What_Is_Boro_Cloth_Kept_in_Use_Through_Mending_and_Patching\" title=\"What Is Boro? Cloth Kept in Use Through Mending and Patching\">What Is Boro? Cloth Kept in Use Through Mending and Patching<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#What_Is_Visible_Mending_A_Contemporary_Practice_of_Showing_Repairs\" title=\"What Is Visible Mending? A Contemporary Practice of Showing Repairs\">What Is Visible Mending? A Contemporary Practice of Showing Repairs<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Why_Did_Boro_Emerge_Background_from_Tohoku_Work_Clothing\" title=\"Why Did Boro Emerge? Background from Tohoku Work Clothing\">Why Did Boro Emerge? Background from Tohoku Work Clothing<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#The_Nationally_Designated_Sashiko_Garments_and_Work-Clothing_Collections\" title=\"The Nationally Designated Sashiko Garments and Work-Clothing Collections\">The Nationally Designated Sashiko Garments and Work-Clothing Collections<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#From_Bast_Fibre_to_Cotton_A_Change_in_Materials\" title=\"From Bast Fibre to Cotton: A Change in Materials\">From Bast Fibre to Cotton: A Change in Materials<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#How_Did_Boro_Come_to_Be_Seen_Differently\" title=\"How Did Boro Come to Be Seen Differently?\">How Did Boro Come to Be Seen Differently?<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#What_Types_of_Sashiko_Are_There_Moyozashi_Hitomezashi_and_Jizashi\" title=\"What Types of Sashiko Are There? Moyozashi, Hitomezashi and Jizashi\">What Types of Sashiko Are There? Moyozashi, Hitomezashi and Jizashi<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Moyozashi_and_Hitomezashi\" title=\"Moyozashi and Hitomezashi\">Moyozashi and Hitomezashi<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#How_Kogin-zashi_and_Hishizashi_Relate\" title=\"How Kogin-zashi and Hishizashi Relate\">How Kogin-zashi and Hishizashi Relate<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#What_Do_You_Need_for_a_First_Mend_Choosing_Materials_and_Tools\" title=\"What Do You Need for a First Mend? Choosing Materials and Tools\">What Do You Need for a First Mend? Choosing Materials and Tools<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Thread_and_Needles_Guidelines_for_Thickness_and_Length\" title=\"Thread and Needles: Guidelines for Thickness and Length\">Thread and Needles: Guidelines for Thickness and Length<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Choosing_a_Patch_Fabric\" title=\"Choosing a Patch Fabric\">Choosing a Patch Fabric<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Trying_a_Repair_Five_Steps_to_Mending_a_Small_Hole\" title=\"Trying a Repair: Five Steps to Mending a Small Hole\">Trying a Repair: Five Steps to Mending a Small Hole<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Step_1_Check_the_Extent_of_the_Damage\" title=\"Step 1: Check the Extent of the Damage\">Step 1: Check the Extent of the Damage<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Step_2_Prepare_the_Patch_and_Tack_It_in_Place\" title=\"Step 2: Prepare the Patch and Tack It in Place\">Step 2: Prepare the Patch and Tack It in Place<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Step_3_Mark_the_Lines_to_Stitch\" title=\"Step 3: Mark the Lines to Stitch\">Step 3: Mark the Lines to Stitch<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Step_4_Stitch_with_a_Running_Stitch_Thread_Tension\" title=\"Step 4: Stitch with a Running Stitch (Thread Tension)\">Step 4: Stitch with a Running Stitch (Thread Tension)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Step_5_Finish_the_Thread_and_Check_the_Result\" title=\"Step 5: Finish the Thread and Check the Result\">Step 5: Finish the Thread and Check the Result<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#Frequently_Asked_Questions\" title=\"Frequently Asked Questions\">Frequently Asked Questions<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/en.kogei-japonica.com\/media\/introduction\/sashiko-boro\/#What_Next_Take_a_Class_See_the_Real_Thing_Keep_Mending\" title=\"What Next? Take a Class, See the Real Thing, Keep Mending\">What Next? Take a Class, See the Real Thing, Keep Mending<\/a><\/li><\/ul><\/nav><\/div>\n<h2><span class=\"ez-toc-section\" id=\"How_Do_Sashiko_Boro_and_Visible_Mending_Differ_Separating_Technique_Cloth_and_Practice\"><\/span>How Do Sashiko, Boro and Visible Mending Differ? Separating Technique, Cloth and Practice<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>These terms describe different aspects of textile making and repair.<\/b> Separate them into how cloth is stitched, the textile shaped by repeated use and repair, and how a repair is presented, and the relationship between them becomes clear.<\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th scope=\"col\">Comparison<\/th>\n<th scope=\"col\">Sashiko<\/th>\n<th scope=\"col\">Boro<\/th>\n<th scope=\"col\">Visible mending<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<th scope=\"row\">What it mainly refers to<\/th>\n<td>A stitching technique and practice<\/td>\n<td>Cloth and garments with a history of reuse and repair<\/td>\n<td>An approach that finishes repairs so they remain visible<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Purpose and background<\/th>\n<td>Reinforcement, warmth, decoration and more<\/td>\n<td>Clothing and household cloth mended and kept in use<\/td>\n<td>Making differences in patch fabric and thread part of the finished piece<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">What to look at<\/th>\n<td>Stitches, patterns, the relationship between cloth and thread<\/td>\n<td>Wear, patches, layered cloth, changes in use<\/td>\n<td>The repair method and the choice of how to show it<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">How to begin<\/th>\n<td>Learn to handle the needle on a sashiko cloth or practice fabric<\/td>\n<td>Study historical pieces and read their history of use and repair<\/td>\n<td>Choose a suitable fabric and try a small repair<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<div class=\"box3\">\n<p><b>How the terms are used here<\/b><\/p>\n<p>Sashiko is needlework used for reinforcement, decoration and other purposes. Boro is used here mainly for cloth and garments that have been kept in use through layers of mending. Visible mending can be described as mending that is deliberately left on show.<\/p>\n<p>This distinction is a working framework for beginners. Boro in particular is sometimes explained as covering not only the cloth itself but also the activity of mending. It is worth checking what a given writer means by the term.<\/p>\n<\/div>\n<h3><span class=\"ez-toc-section\" id=\"What_Is_Sashiko_Stitching_to_Reinforce_and_Decorate_Fabric\"><\/span>What Is Sashiko? Stitching to Reinforce and Decorate Fabric<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<div style=\"max-width:300px; margin:0 auto 15px;\"><iframe width=\"482\" height=\"857\" src=\"https:\/\/www.youtube.com\/embed\/Q3nDRbr19dI\" title=\"\u5357\u90f7\u523a\u3057\u5b50\u3010\u5357\u4f1a\u6d25\u753a\u3011\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>Sashiko is needlework that works rows of stitches into fabric for reinforcement, warmth, decoration and more. Besides stitching through several layers of fabric, it also includes the contemporary practice of stitching patterns onto a single piece of cloth.<br \/>(Source: <a href=\"https:\/\/olympus-thread.com\/basic\/sashiko\/18\/\" rel=\"noopener nofollow\" target=\"_blank\">Thread, Fabric and Needles | Olympus Thread<\/a>)<\/p>\n<p>The Cultural Heritage Online entry for the Tsugaru and Nanbu Sashiko Garments describes a method of finely stitching through layered cloth as part of its account of historical clothing. Today, sashiko is also widely used for pattern-led work such as hanafukin, decorative stitched cloths, and bags.<br \/>(Source: <a href=\"https:\/\/online.bunka.go.jp\/db\/heritages\/detail\/160511\" rel=\"noopener nofollow\" target=\"_blank\">Tsugaru and Nanbu Sashiko Garments | Cultural Heritage Online<\/a>)<br \/>(Source: <a href=\"https:\/\/olympus-thread.com\/basic\/sashiko\/17\/\" rel=\"noopener nofollow\" target=\"_blank\">What Is Sashiko? | Olympus Thread<\/a>)<\/p>\n<p>Beginners practise unshin: the coordinated movement of needle and fabric used to make a steady line of running stitches. Stitching a pattern and repairing a worn garment, however, call for different decisions. Mending requires not only stitching skill but the ability to read how the cloth has deteriorated and how materials will work together.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"What_Is_Boro_Cloth_Kept_in_Use_Through_Mending_and_Patching\"><\/span>What Is Boro? Cloth Kept in Use Through Mending and Patching<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p><iframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/UhoRkB2mFHs?si=1LZfnUU5TK_z2SzQ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Understanding boro means looking not only at the stitches but at how the cloth was used. Layers of patches and re-stitching show how the cloth was handled and what had to be made good over time.<\/p>\n<p>Upcycle Stitches, which teaches sashiko, sets out its view as practitioners: sashiko is the process of needlework, and boro is the result that emerges through repetition. This is best read as an understanding grounded in experience rather than a single official definition.<br \/>(Source: <a href=\"https:\/\/upcyclestitches.com\/difference-sashiko-and-boro\/\" rel=\"noopener nofollow\" target=\"_blank\">Difference Sashiko and Boro | Upcycle Stitches<\/a>)<\/p>\n<p>The term &#8220;boro stitching&#8221; is also used, but it does not necessarily mean one particular type of stitch. <b>Explaining historical boro separately from contemporary repairs and patchwork inspired by it<\/b> helps to avoid misunderstanding.<\/p>\n<p>When presenting your own work, you might describe it as &#8220;boro-inspired mending&#8221;. A newly made piece reflects the decisions of a present-day maker, and there is value in saying how it came about.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"What_Is_Visible_Mending_A_Contemporary_Practice_of_Showing_Repairs\"><\/span>What Is Visible Mending? A Contemporary Practice of Showing Repairs<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p><iframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/8cnzQTAEJ-c?si=v6gS2ZMBADvTzawo\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Visible mending is an approach that does not aim only to conceal a repair, but presents the patch fabric and thread as part of the finished piece. The term does not refer to any one country, or to a single traditional technique.<\/p>\n<p>Craftsy, which publishes craft tutorials, introduces repairs that combine patches with embroidery. The thread maker DMC also features darning, which fills a hole with thread, in its visible-mending tutorials.<br \/>(Source: <a href=\"https:\/\/www.craftsy.com\/post\/visible-mending-patching-and-embroidery\" rel=\"noopener nofollow\" target=\"_blank\">Visible Mending: Patching and Embroidery | Craftsy<\/a>)<br \/>(Source: <a href=\"https:\/\/www.dmc.com\/US\/en\/products\/darned-patches\" rel=\"noopener nofollow\" target=\"_blank\">Darned Patches | DMC<\/a>)<\/p>\n<p>A repair made with sashiko can become visible mending.<br \/>\nVisible mending, however, is not an English translation of sashiko. People mend for different reasons, too: thrift, attachment, decoration, environmental concern and more.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Why_Did_Boro_Emerge_Background_from_Tohoku_Work_Clothing\"><\/span>Why Did Boro Emerge? Background from Tohoku Work Clothing<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>Surviving garments offer a guide to why cloth was used and handed on.<\/b> In Tohoku there are collections designated by the national government as Important Tangible Folk Cultural Properties, preserved as records of regional dress and working life.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"The_Nationally_Designated_Sashiko_Garments_and_Work-Clothing_Collections\"><\/span>The Nationally Designated Sashiko Garments and Work-Clothing Collections<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The three collections below, held in Aomori and Yamagata prefectures, are a starting point for understanding how sashiko and work clothing were used. Rather than calling all of them &#8220;boro&#8221;, it is worth looking at each by its own name and contents.<\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th scope=\"col\">Name<\/th>\n<th scope=\"col\">Date of designation<\/th>\n<th scope=\"col\">Items<\/th>\n<th scope=\"col\">Location \/ custodian<\/th>\n<th scope=\"col\">Owner<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<th scope=\"row\">Tsugaru and Nanbu Sashiko Garments<\/th>\n<td>13 April 1983<\/td>\n<td>786<\/td>\n<td>Listed as located at the Aomori Prefectural Museum<\/td>\n<td>Private individual<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Nanbu Sashiko Work-Clothing Collection<\/th>\n<td>11 June 1966<\/td>\n<td>64<\/td>\n<td>Misawa, Aomori Prefecture<\/td>\n<td>Misawa City<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Shonai Work-Clothing Collection<\/th>\n<td>11 June 1966<\/td>\n<td>126<\/td>\n<td>Chido Museum, Tsuruoka, Yamagata Prefecture<\/td>\n<td>Chido Museum (public interest incorporated foundation)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p>All three are Important Tangible Folk Cultural Properties. Locations and owners follow each official record.<br \/>(Source: <a href=\"https:\/\/www.pref.aomori.lg.jp\/soshiki\/kyoiku\/e-bunka\/minzoku_yukei_04.html\" rel=\"noopener nofollow\" target=\"_blank\">Tsugaru and Nanbu Sashiko Garments | Aomori Prefecture<\/a>)<br \/>(Source: <a href=\"https:\/\/www.pref.aomori.lg.jp\/soshiki\/kyoiku\/e-bunka\/minzoku_yukei_02.html\" rel=\"noopener nofollow\" target=\"_blank\">Nanbu Sashiko Work-Clothing Collection | Aomori Prefecture<\/a>)<br \/>(Source: <a href=\"https:\/\/online.bunka.go.jp\/index.php\/heritages\/detail\/214259\" rel=\"noopener nofollow\" target=\"_blank\">Shonai Work-Clothing Collection | Cultural Heritage Online<\/a>)<\/p>\n<p>What these designations bring into focus is the value of the garments as records of people&#8217;s lives, alongside the beauty of their patterns and forms. Which parts were reinforced? What shapes of garment were worn for work? Reading how they were used widens the way we look at cloth.<\/p>\n<p>Designation as a cultural property is not the same as being on permanent display. Before visiting, check with the custodian or contact point whether the materials are scheduled to be shown.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"From_Bast_Fibre_to_Cotton_A_Change_in_Materials\"><\/span>From Bast Fibre to Cotton: A Change in Materials<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>The Cultural Heritage Online entry for the Tsugaru and Nanbu Sashiko Garments explains how stitching moved from asa (bast-fibre) cloth worked with asa or cotton thread to cotton cloth worked with cotton thread in the Meiji 20s (roughly 1887\u20131896). Conventional sashiko later declined as kasuri, an ikat-patterned cloth, and similar fabrics became widespread. This should be read as a change within the regions connected with that collection.<br \/>(Source: <a href=\"https:\/\/online.bunka.go.jp\/db\/heritages\/detail\/160511\" rel=\"noopener nofollow\" target=\"_blank\">Tsugaru and Nanbu Sashiko Garments | Cultural Heritage Online<\/a>)<\/p>\n<p>The Shonai work clothing, by contrast, draws on materials including zenmai (a fern), wisteria, asa and cotton, and its methods of making are equally varied, among them sashiko and sakiori. Sakiori, a technique of weaving in narrow strips of torn cloth, differs from sashiko, which stitches through cloth.<br \/>(Source: <a href=\"https:\/\/online.bunka.go.jp\/index.php\/heritages\/detail\/214259\" rel=\"noopener nofollow\" target=\"_blank\">Shonai Work-Clothing Collection | Cultural Heritage Online<\/a>)<\/p>\n<p>As materials changed, so did what people needed stitching to do. Practicality and decorative invention, however, need not be pulled apart. Seeing the wish to make clothing last and the care taken over patterns as coexisting within the same garment does more justice to the richness of these garments.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"How_Did_Boro_Come_to_Be_Seen_Differently\"><\/span>How Did Boro Come to Be Seen Differently?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>When considering the value of cloth, the work of those who collected and preserved it matters alongside that of the people who wore and mended it. Chuzaburo Tanaka (1933\u20132013), a folklore researcher from Aomori Prefecture, worked on archaeological excavation and on collecting and studying folk implements.<\/p>\n<p>According to The Museum of Modern Aomori Literature, the Tanaka Collection runs to some 20,000 items, including folk implements relating to clothing, food and housing. Tanaka served as director of the Ogawarako Folk Museum, among other posts, and his books include Tsugaru, Nanbu no Sashikogi (Sashiko Garments of Tsugaru and Nanbu, 2000). The figure of around 20,000 refers to the collection as a whole, not to boro alone.<br \/>(Source: <a href=\"https:\/\/www.plib.pref.aomori.lg.jp\/bungakukan\/uploads\/2a8501652b0040038184c21ff1b32edb.pdf\" rel=\"noopener nofollow\" target=\"_blank\">Chuzaburo Tanaka | The Museum of Modern Aomori Literature<\/a>)<\/p>\n<p>Presentations outside Japan are not limited to visual appreciation either. The commentary for &#8220;Stitch after stitch&#8221;, published in September 2026 by Sweden&#8217;s Museum of Far Eastern Antiquities, introduces boro and workwear together with their histories of use, repair and reuse.<br \/>(Source: <a href=\"https:\/\/www.ostasiatiskamuseet.se\/en\/exhibitions\/stitch-after-stitch\/\" rel=\"noopener nofollow\" target=\"_blank\">Stitch after stitch | Museum of Far Eastern Antiquities<\/a>)<\/p>\n<div class=\"box3\">\n<p><b>Editor&#8217;s Note \u2014 Seiichi Sato, Editor-in-Chief<\/b><\/p>\n<p>Cultural Heritage Online records that garments decorated with patterns were worn as best clothes and later used as everyday and work clothing. What this tells us is that a cloth&#8217;s role does not end after a single use.<\/p>\n<p>When I look at a repaired textile, I want to ask not only whether it is beautiful, but why a patch was placed there, what it reinforced and how it changed the garment. Poverty alone cannot explain every choice, and neither can present-day ideas of beauty. Paying attention to those practical decisions is where the interest of learning to mend begins.<\/p>\n<\/div>\n<h2><span class=\"ez-toc-section\" id=\"What_Types_of_Sashiko_Are_There_Moyozashi_Hitomezashi_and_Jizashi\"><\/span>What Types of Sashiko Are There? Moyozashi, Hitomezashi and Jizashi<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>The names and classifications used for sashiko vary by region and by teaching source.<\/b> Modern craft terms such as moyozashi and hitomezashi, and jizashi, a term found in historical records, should not be treated as a single definitive three-way classification.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Moyozashi_and_Hitomezashi\"><\/span>Moyozashi and Hitomezashi<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<div style=\"max-width:300px; margin:0 auto 15px;\"><iframe width=\"482\" height=\"857\" src=\"https:\/\/www.youtube.com\/embed\/iUyOEDKHzcE\" title=\"\u4e00\u76ee\u523a\u3057\u3092\u523a\u3057\u3066\u3044\u308b\u3068\u3053\u308d\/\u523a\u3057\u5b50\u3075\u304d\u3093\u5bc4\u305b\u6a21\u69d824\u9762\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>Moyozashi, or pattern sashiko, builds up a design by following its lines with stitches. Hitomezashi is described as a method in which evenly spaced stitches, worked vertically, horizontally and in other directions, build up a pattern. There is also kuguri-zashi, in which a second thread is passed beneath stitches already made.<br \/>(Source: <a href=\"https:\/\/olympus-thread.com\/lineup\/sashiko\/5597\/\" rel=\"noopener nofollow\" target=\"_blank\">Sashiko Textile Lab | Olympus Thread<\/a>)<br \/>(Source: <a href=\"https:\/\/www.olympus-thread.com\/lesson\/15\/\" rel=\"noopener nofollow\" target=\"_blank\">How to Work Kuguri-zashi | Olympus Thread<\/a>)<\/p>\n<p>The Cultural Heritage Online entry for the Tsugaru and Nanbu Sashiko Garments, meanwhile, uses the terms katazashi (pattern stitching) and jizashi (literally &#8220;ground stitching&#8221;). These are best understood together with the account of how and where the historical garments were used.<\/p>\n<p>In mending, working out how to support the worn cloth and the patch comes before choosing a method by name. Finer stitches do not automatically make a stronger repair; consider the condition of the original cloth, the thickness of the thread and the area to be stitched together.<\/p>\n<p>Printed sashiko cloths are a way into practising needle handling and thread tension. What works on a practice cloth, however, will not necessarily transfer directly to heavy denim or a stretchy knit.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"How_Kogin-zashi_and_Hishizashi_Relate\"><\/span>How Kogin-zashi and Hishizashi Relate<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<div style=\"max-width:300px; margin:0 auto 15px;\"><iframe width=\"482\" height=\"857\" src=\"https:\/\/www.youtube.com\/embed\/8YYXBr59U0c\" title=\"\u6d25\u8efd\u3053\u304e\u3093\u523a\u3057\uff5c\u5f18\u524d\u3053\u304e\u3093\u7814\u7a76\u6240 #shorts\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>Aomori Prefecture&#8217;s account presents Tsugaru kogin and Nanbu hishizashi as regional traditions that grew out of stitching for reinforcement as makers developed their patterns. Cultural Heritage Online also records that garments based on diamond patterns were worn as best clothes.<br \/>(Source: <a href=\"https:\/\/www.pref.aomori.lg.jp\/soshiki\/kyoiku\/e-bunka\/minzoku_yukei_04.html\" rel=\"noopener nofollow\" target=\"_blank\">Tsugaru and Nanbu Sashiko Garments | Aomori Prefecture<\/a>)<br \/>(Source: <a href=\"https:\/\/online.bunka.go.jp\/db\/heritages\/detail\/160511\" rel=\"noopener nofollow\" target=\"_blank\">Tsugaru and Nanbu Sashiko Garments | Cultural Heritage Online<\/a>)<\/p>\n<p>If you want to learn these regional forms of needlework, choose teaching materials suited to the technique, including how to select cloth and build up patterns. Rather than grouping everything under the broad word &#8220;sashiko&#8221;, keeping in mind which region and which practice you are learning will deepen your understanding.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"What_Do_You_Need_for_a_First_Mend_Choosing_Materials_and_Tools\"><\/span>What Do You Need for a First Mend? Choosing Materials and Tools<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>The first things you need are a patch fabric, thread and needle that suit the cloth being repaired, together with tools for cutting and holding the patch in place.<\/b> Before buying a full set of specialist equipment, try out what you already have on scraps.<\/p>\n<div class=\"scroll_table\">\n<table>\n<thead>\n<tr>\n<th scope=\"col\">Material \/ tool<\/th>\n<th scope=\"col\">Role<\/th>\n<th scope=\"col\">What to check<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<th scope=\"row\">Thread<\/th>\n<td>Secures the cloth<\/td>\n<td>Whether its fibre and thickness suit the cloth, and whether it passes through the needle&#8217;s eye<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Needle<\/th>\n<td>Carries thread through layered cloth<\/td>\n<td>Whether you can sew without forcing it<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Patch fabric<\/th>\n<td>Supports the damaged area<\/td>\n<td>Whether thickness, stretch, softness and washing requirements are compatible<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Fabric marker and ruler<\/th>\n<td>Mark the repair area and stitching positions<\/td>\n<td>Test on an inconspicuous area and check that the marks can be removed as directed<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Pins and tacking thread<\/th>\n<td>Stop the patch from shifting<\/td>\n<td>Whether they stay out of the way and can be removed at the end<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Fabric and thread scissors<\/th>\n<td>Cut patch fabric and thread<\/td>\n<td>Whether they cut precisely<\/td>\n<\/tr>\n<tr>\n<th scope=\"row\">Thimble<\/th>\n<td>Helps push the needle through<\/td>\n<td>Whether it suits your grip and the task; use as needed<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<p><b>Checklist before you mend<\/b><\/p>\n<ul>\n<li>Check the fibre, stretch and care label.<\/li>\n<li>Look not only at the hole but at the thinned areas around it.<\/li>\n<li>Think about wearing, bending and washing after the repair.<\/li>\n<li>Test the patch fabric and thread on scraps.<\/li>\n<li>Decide whether you want the repair to stand out or blend in.<\/li>\n<li>For old textiles with a history, or treasured garments, seek advice before working on them.<\/li>\n<\/ul>\n<h3><span class=\"ez-toc-section\" id=\"Thread_and_Needles_Guidelines_for_Thickness_and_Length\"><\/span>Thread and Needles: Guidelines for Thickness and Length<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Choose a thread that is not too thick for the cloth. Sashiko threads come in different thicknesses, and stranded cotton (No. 25 embroidery thread) can also be used. If substituting, test it, including the number of strands, and check that drawing the thread through does not strain the cloth.<br \/>(Source: <a href=\"https:\/\/olympus-thread.com\/basic\/sashiko\/18\/\" rel=\"noopener nofollow\" target=\"_blank\">Thread, Fabric and Needles | Olympus Thread<\/a>)<\/p>\n<p>Longer is not always better for needles either. Clover&#8217;s official tutorial suggests a long needle for straight lines and a shorter one, working a few stitches at a time, for designs with many curves. Match the needle to the thickness of the cloth and to a length you find easy to handle.<br \/>(Source: <a href=\"https:\/\/clover.co.jp\/wp-content\/uploads\/2019\/01\/sashiko_fukin_2018.pdf\" rel=\"noopener nofollow\" target=\"_blank\">Sashiko Cloths | Clover<\/a>)<\/p>\n<p>There is no need to aim from the outset at loading many stitches onto the needle at once. Working one stitch at a time, you can still check where the needle enters and how the cloth is responding.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Choosing_a_Patch_Fabric\"><\/span>Choosing a Patch Fabric<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Choose a patch fabric close to the original in thickness and character. Layering a very heavy fabric over a thin one can leave stiffness or a noticeable ridge. Prioritise a combination that stays comfortable to use after the repair over a material that merely looks sturdy.<\/p>\n<p>MyVisibleMend, which shares repair techniques, likewise advises understanding the properties of the fabric and keeping the weight and thickness of the patch close to those of the original garment.<br \/>(Source: <a href=\"https:\/\/www.myvisiblemend.no\/en-en\/blogs\/myvisiblemend\/nybegynnertips-for-synlig-og-usynlig-reparasjon\" rel=\"noopener nofollow\" target=\"_blank\">Beginner\u2019s Tips for Visible (and Invisible) Mending | MyVisibleMend<\/a>)<\/p>\n<p>When using a new patch fabric, one option is to check its care label and, if it is washable, wash it beforehand to see how it changes. Pre-washing does not, however, fully prevent later shrinkage or dye transfer.<\/p>\n<p>Colour can be decided by how you want to use the garment. A repair that stands out and one that blends in are both valid choices. Visible mending being in fashion is no reason to feel you must use a contrasting colour.<\/p>\n<h4>Sourcing Materials Outside Japan<\/h4>\n<p>Searching for &#8220;sashiko thread&#8221; and &#8220;sashiko needle&#8221; is a good starting point when looking for supplies. You do not, however, need Japanese-made materials to begin. Without specialist supplies, choose by checking fibre, thickness and compatibility with the needle&#8217;s eye.<\/p>\n<p>When looking for a patch fabric, the distinction between woven and knit fabrics is useful. Some woven fabrics also stretch, however, so rather than judging by the label alone, check how the fabric actually behaves.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Trying_a_Repair_Five_Steps_to_Mending_a_Small_Hole\"><\/span>Trying a Repair: Five Steps to Mending a Small Hole<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>Work in this order: check the damage, prepare the patch, hold it in place, stitch it down and inspect the finish.<\/b> What follows is one example of a basic repair, placing a patch on the outside of a garment, the side visible when it is worn, made from a fabric that does not stretch easily.<\/p>\n<p>The reference here is a tutorial published by EILEEN FISHER on stitching a patch over a small area of damage. It is not a lesson in covering a surface with sashiko patterns, but a way into the feel of stitching while supporting the cloth. Try it first on practice fabric you are happy to work on.<br \/>(Source: <a href=\"https:\/\/www.eileenfisher.com\/a-sustainable-life\/journal\/repair-care\/visible-mending-101-patching.html\" rel=\"noopener nofollow\" target=\"_blank\">Visible Mending 101: Patching | EILEEN FISHER<\/a>)<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Step_1_Check_the_Extent_of_the_Damage\"><\/span>Step 1: Check the Extent of the Damage<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Lay the cloth flat and look beyond the hole itself. Whether it is a snag or an area worn thin by repeated friction changes how much needs repairing. Where the cloth has worn through, the area around the hole may be weak as well.<\/p>\n<p>If you wash the garment first, follow its care label; if the damage looks likely to spread, seek advice on the repair method beforehand. Avoid routinely washing old textiles or non-washable fabrics simply as preparation.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Step_2_Prepare_the_Patch_and_Tack_It_in_Place\"><\/span>Step 2: Prepare the Patch and Tack It in Place<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Cut the patch large enough to cover the damage and be stitched to the sound fabric around it. If you will turn the raw edges under, allow for that too. The margin needed depends on the damage, so do not rely on a fixed measurement.<\/p>\n<p>Here, the patch goes on the outside of the garment. Fold the raw edges under, then pin the patch in place or secure it with temporary stitches, and check that spreading the cloth out does not stretch the garment or put it under strain.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Step_3_Mark_the_Lines_to_Stitch\"><\/span>Step 3: Mark the Lines to Stitch<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Position your stitching where it will hold the folded edge of the patch. If marks are needed, use a fabric marker and confirm where the patch and the original cloth can be sewn together.<\/p>\n<p>Test markers on an inconspicuous spot first. Whether the marks are removed with water or heat varies by product, so follow the instructions on the packaging.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Step_4_Stitch_with_a_Running_Stitch_Thread_Tension\"><\/span>Step 4: Stitch with a Running Stitch (Thread Tension)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>Secure the start of the thread on the inside of the garment and work a running stitch around the patch, passing the needle alternately in and out of the cloth. Check which layers the needle is going through so that you do not catch the other side of the garment or a pocket.<\/p>\n<p>After a few stitches, spread the cloth out and check that pulling the thread has not puckered it. Securing the patch without puckering matters more than making the stitches even. If it takes force, reconsider the combination of needle, thread and cloth.<\/p>\n<h3><span class=\"ez-toc-section\" id=\"Step_5_Finish_the_Thread_and_Check_the_Result\"><\/span>Step 5: Finish the Thread and Check the Result<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>In the reference tutorial, the end is secured with a backstitch, taken back over the previous stitch, and a small knot. This is one example of finishing a patch repair, not a rule for sashiko as a whole. The hand movements can also be seen in the photographs and video at the link.<\/p>\n<p>Remove the pins and any temporary stitches, then inspect both sides. Check that the patch edges are not lifting, that no long threads are left to snag and that the surrounding cloth is not puckered. For garments worn against the skin, also check how the knots and the extra thickness feel.<\/p>\n<p><b>Do not judge a repair only at the moment you finish sewing.<\/b> After wear and appropriate washing, check again for loosened thread, shrinkage, dye transfer and damage nearby. A photograph taken straight after finishing and a note of the materials used will help the next time you mend.<\/p>\n<h2><span class=\"ez-toc-section\" id=\"Frequently_Asked_Questions\"><\/span>Frequently Asked Questions<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p>The answers below treat questions of terminology separately from questions about where a repair method can be used.<\/p>\n<dl>\n<dt><b>Q1. Are sashiko and boro the same thing?<\/b><\/dt>\n<dd>No. Sashiko mainly refers to a stitching technique and practice, and boro to cloth and garments with a history of reuse and mending. How broadly each term is explained does vary between sources and writers.<\/dd>\n<dt><b>Q2. Is visible mending a Japanese technique?<\/b><\/dt>\n<dd>It is not a technique belonging to any particular country. It is an approach that leaves repairs on show, using several methods including patching, darning and embroidery. Nor is it an English translation of sashiko.<\/dd>\n<dt><b>Q3. Can I use embroidery thread if I don&#8217;t have sashiko thread?<\/b><\/dt>\n<dd>In some cases, yes. The thickness changes with the number of strands, so test a combination that suits the cloth and needle on scraps. Even with dedicated sashiko thread, check that it is not too thick for the cloth.<\/dd>\n<dt><b>Q4. What fabric or area is best for a first mend?<\/b><\/dt>\n<dd>A cotton practice cloth that does not stretch easily and is not too thick is an approachable choice. On a garment, start with an area that can be laid flat and takes little strain. Thick seam allowances, stretchy knits and widespread wear call for different judgements.<\/dd>\n<dt><b>Q5. Is it culturally disrespectful to make my own clothes look &#8220;boro&#8221;?<\/b><\/dt>\n<dd>There is no reason to regard mending your own clothes as disrespectful in itself. Distinguishing historical boro from your own repairs, and saying which techniques and sources you drew on, is one way of showing respect for that background.<\/dd>\n<dt><b>Q6. Where can I see historical boro or sashiko garments?<\/b><\/dt>\n<dd>Clothing collections exist in Aomori, Shonai and elsewhere, but designation as a cultural property does not mean permanent display. Name the specific collection you want to see and check scheduled displays with its custodian or host museum. Not every sashiko garment in these collections counts as boro.<\/dd>\n<dt><b>Q7. Does sashiko shrink in the wash?<\/b><\/dt>\n<dd>Depending on the cloth and thread used, it can. Check the care requirements of both the original garment and the added materials, and look for puckering or dye transfer after washing. Pre-washing alone cannot entirely prevent later changes.<\/dd>\n<\/dl>\n<h2><span class=\"ez-toc-section\" id=\"What_Next_Take_a_Class_See_the_Real_Thing_Keep_Mending\"><\/span>What Next? Take a Class, See the Real Thing, Keep Mending<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><b>Choose your next step according to what you want to learn.<\/b> To build needle skills, try a class; to understand the background of the cloth, turn to the historical record; to learn the judgements involved in repair, move on to small practical projects and keep notes.<\/p>\n<p><b>If you take a class<\/b>, check whether it covers pattern stitching only or garment repair as well. Confirm whether you may bring your own items, which fabrics are covered, what tools are needed and the fee, including materials. A class described as &#8220;sashiko&#8221; will not necessarily teach you to mend the clothes you own.<\/p>\n<p><b>If you want to see the real thing<\/b>, name the collection when asking about access. Aomori Prefecture&#8217;s page for the Tsugaru and Nanbu Sashiko Garments lists them as not open to the public, with the museum closed, and its page for the Nanbu Sashiko Work-Clothing Collection states that enquiries are required in advance. As these notices are updated from time to time, check the latest status with the contact point before visiting.<br \/>(Source: <a href=\"https:\/\/www.pref.aomori.lg.jp\/soshiki\/kyoiku\/e-bunka\/minzoku_yukei_04.html\" rel=\"noopener nofollow\" target=\"_blank\">Tsugaru and Nanbu Sashiko Garments | Aomori Prefecture<\/a>)<br \/>(Source: <a href=\"https:\/\/www.pref.aomori.lg.jp\/soshiki\/kyoiku\/e-bunka\/minzoku_yukei_02.html\" rel=\"noopener nofollow\" target=\"_blank\">Nanbu Sashiko Work-Clothing Collection | Aomori Prefecture<\/a>)<\/p>\n<p><b>If you keep mending<\/b>, try recording the date of each repair, the materials used, how it felt to wear and how it changed after washing. Not only the patterns that worked but also the reasons for re-stitching will help with your next repair.<\/p>\n<p>Readers interested in reusing materials from a product development or business perspective may also wish to read the following related article.<\/p>\n<div class=\"linkcard\"><div class=\"lkc-internal-wrap\"><a class=\"lkc-link no_icon\" href=\"https:\/\/en.kogei-japonica.com\/media\/invest\/craft-upcycling\/\"><div class=\"lkc-card\"><div class=\"lkc-info\"><img decoding=\"async\" class=\"lkc-favicon\" src=\"https:\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2025\/06\/cropped-logo_ver1-32x32.webp\" alt=\"\" width=\"16\" height=\"16\" \/><div class=\"lkc-domain\">en.kogei-japonica.com\/media<\/div><\/div><div class=\"lkc-content\"><figure class=\"lkc-thumbnail\"><img decoding=\"async\" class=\"lkc-thumbnail-img\" src=\"\/\/en.kogei-japonica.com\/media\/wp-content\/uploads\/2026\/03\/Circular-Economy.webp\" width=\"100px\" height=\"108px\" alt=\"\" \/><\/figure><div class=\"lkc-title\">Sustainable Japanese Craft Upcycling: Kintsugi &amp; Boro<\/div><div class=\"lkc-url\" title=\"https:\/\/en.kogei-japonica.com\/media\/invest\/craft-upcycling\/\">https:\/\/en.kogei-japonica.com\/media\/invest\/craft-upcycling\/<\/div><div class=\"lkc-excerpt\">As the global design industry accelerates toward a circular economy, modern creators are finding profound inspiration in centuries-old philosophies. At the forefront of this movement is sustainable Japanese craft upcycling. Long before &quot;zero waste&quot; became a global mandate, Japanese artisans practiced the art of finding beauty in imperfection and extending the lifespan of materials. Through traditional techniques like Kintsugi (repairing broken pottery with gold) and Boro (patching a...<\/div><\/div><div class=\"clear\">\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div><\/a><\/div><\/div>\n<div class=\"box3\">\n<p>Learning the difference between sashiko and boro is about more than memorising names. It is a way of looking again at the cloth in front of you, as something that has been used and will go on being used.<\/p>\n<p>A repair can look beautiful in a photograph and still feel stiff against the skin, which is why I would rather not judge a mend by its image alone. Whether to show a repair is a choice for the person who uses the garment.<\/p>\n<p><b>What matters is making decisions suited to the cloth until the garment becomes something you want to use again.<\/b> A small practice cloth is a fine place to begin. Pass a needle through, handle the cloth and notice how it feels in use.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Sashiko is a Japanese stitching technique and practice used to reinforce and decorate fabric; boro refers primarily to textiles shaped by repeated use, patching and repair. The two are closely connected, but they are not the same. The cuff of a favourite shirt has begun to wear through. You would like to mend a small<\/p>\n","protected":false},"author":2,"featured_media":7703,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[575],"tags":[],"class_list":["post-7701","post","type-post","status-publish","format-standard","has-post-thumbnail","category-introduction"],"acf":[],"aioseo_notices":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7701","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/comments?post=7701"}],"version-history":[{"count":1,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7701\/revisions"}],"predecessor-version":[{"id":7702,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/posts\/7701\/revisions\/7702"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media\/7703"}],"wp:attachment":[{"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/media?parent=7701"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/categories?post=7701"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/en.kogei-japonica.com\/media\/wp-json\/wp\/v2\/tags?post=7701"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}