Sudo Reiko: Making NUNO Textiles 須藤玲子：“ 布 ” 之作業 2019.11.21 - 2020.03.01 CHAT (Centre for Heritage, Arts and Textile) CHAT 六廠（六廠紡織文化藝術館）
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Sudo Reiko: Making NUNO Textiles
Sudo Reiko & Adrien Gardère, Koi Currents, 2008/19
展場圖片：「須藤玲子：“ 布 ” 之作業」， CHAT 六廠（六廠紡織文化藝術館），香港， 2019-20
須藤玲子： “ 布 ” 之作業
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Sudo Reiko: Making NUNO Textiles
Exhibition view: Sudo Reiko: Making NUNO Textiles, CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2019-20
Vitrines showing the development and inspirations of Nuno textiles NUNO 織物創作概念的展櫃
展場圖片：「須藤玲子：“ 布 ” 之作業」， CHAT 六廠（六廠紡織文化藝術館），香港， 2019-20
須藤玲子： “ 布 ” 之作業
Vitrines showing the development and inspirations of Nuno textiles NUNO 織物創作概念的展櫃
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Sudo Reiko: Making NUNO Textiles
Exhibition view: Sudo Reiko: Making NUNO Textiles, CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2019-20
提花梭織：《顏色塊》 Nuno maintains an inseparable relationship with the town of Kiryu, Gunma, the leading centre of Japan’s fibre industries. With over 1,300 years of weaving and dyeing history, this ‘Kyoto of Eastern Japan’ is at the same time very flexible and forward-looking, actively embracing new technologies – not just in clothing, but constantly growing in tandem with interior design, automobile production and many other new fields. Nuno was founded in 1983 by Arai Jun’ichi, a textile planner in Kiryu and, like the town itself, we avail upon the invaluable skills and knowledge of artisans and technicians steeped in kimono traditions. One obi sash weaver in particular has been a trusted partner throughout our creative exploits: Hyodo Orimono, specialists in decorative gold and silver brocade sashes, has 4 Jacquard looms that could weave incredibly detailed patterns up to 2,060 warps wide, even in multiple layers and with floated threads. So we set about weaving a complex polychrome geometric fabric with multicoloured warps. And while we usually can’t expect an operation accustomed to long filament fibre to agree to work with staple fibre, mechanical engineer Mr Hyodo happily agreed to our request, and realised a crepe-like stretch fabric of regular wool crossed with left- and right-twisted overspun wool yarns. His 4 looms have created over 400 designs for us now and hopefully will continue to work together with us for years to come.
NUNO 與 日 本 纖 維 重 鎮 群 馬 縣 的 桐 生 市， 有 著 密 不 可
分的關係。若說「西有京都，東有桐生」，只因後者有 逾 1300 年的梭織及染布歷史，仍不懈及靈活地從衣服、 室內設計、汽車生產等各個範疇入手，眺望並持續挑戰 新技術。1983 年我們的品牌由桐生市的紡織統籌新井淳 一創立，全賴當地和服工匠與技師提供的熟練技藝與知 識傳授。兵藤織物是所與我們合作無間的和服腰帶織造 坊，擅於金銀錦緞，而其 4 台提花織機的經闊循環更高 達 2060 條經紗，能織造複雜如多層的凹凸浮緯組織。因 此，我們決定以多色經紗，織造出一面幾何織物。長纖 和短纖纖維通常由不同工場擔當生產，我們幸得向來處 理長纖的機械工程師兵藤先生支持，將短纖羊毛與兩種 捻向相反的強捻毛紗交織成一面伸縮縐布。至今，兵藤 先生的 4 台織機已為我們創造出逾 400 款設計，祈盼我 們未來也能合作無間。
展場圖片：「須藤玲子：“ 布 ” 之作業」， CHAT 六廠（六廠紡織文化藝術館），香港， 2019-20
須藤玲子： “ 布 ” 之作業
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Sudo Reiko: Making NUNO Textiles
Exhibition view: Sudo Reiko: Making NUNO Textiles, CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2019-20
展場圖片：「須藤玲子：“ 布 ” 之作業」， CHAT 六廠（六廠紡織文化藝術館），香港， 2019-20
水溶蕾絲刺繡：《捲紙》 Bolts of fabric all stacked up, roll ends tightly curled, is a wonderful sight. And the same goes for paper, especially deckle-edged rolls of thick handmade washi, their uneven spirals alive with coiled energy. Mightn’t we make a fabric out of springy slices of washi paper? While it is extremely difficult to trim the edges of rolled paper into slits, couldn’t we just ‘draw’ them in thin swirls of ribbon? Or stitch down curls of tape? We did small mock-ups of several ideas, stitching tapes onto paper, then tearing away the paper, finally arriving at the so-called ‘chemical lace’ method. Reputedly invented in Germany in 1883, the original process involved stitching designs on a silk base that was then dissolved in a lye solution. Today we use a large steering wheel embroidery machine to baste curls of ribbon onto a water-soluble base, which is then immersed in water leaving only a lace-like tracery of ‘paper roll’ patterns.
無 數 疊 起 的 布 匹 呈 現 出 的 扎 實 布 邊， 是 一 個 悅 目 的 景 觀。厚實的手造和紙，捲起時的紙邊同樣呈現出不均的 螺旋型態，勃勃生機。以此具生命力的紙捲邊作靈感， 造出一面織品又會如何？如果從紙捲切割出橫切片難以 實行，不如以細長的絲帶「繞」出螺旋線條，後以縫紉 固定？我們本著構想實驗，為紙張縫上絲帶，然後撕走 紙張，開發出外界稱之為「化學蕾絲刺繡」的水溶繡花 工序。原來的工序，據說源於 1883 年的德國，當時於絲 布上繡出設計，然後浸入鹼液裏使底布溶解。現在，我 們會以大型滾輪刺繡機，將絲帶以繚繞的姿態固定於水 溶底布上，然後溶解於水中，留下如蕾絲般、通風的「捲 紙」設計。
須藤玲子： “ 布 ” 之作業
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Sudo Reiko: Making NUNO Textiles
It was not until this trip that I began to photograph industrial spaces in the panoramic format, which is typically reserved for landscapes. Though I did not know it initially, I later realised an abstract commonality between landscapes and workscapes. Both are configured to sprawl horizontally and are inhabited by labourers that harvest its fruits. Particularly as I traversed great distances across Japan, I began to think about how Sudo’s practice reflects the transactional movements of cloth across space, interconnecting pockets of industry as though they are a string of landscapes, and how I was part of both.
我素來不以全景拍攝方法為工業留影，直至這次行程， 我才開始使用這專屬風景拍攝的方法。初時並未為意， 後來才意識到大自然風景和工作場所的景觀，有著抽象 的共同性。兩者都受制於橫向擴展，而各自有其工人為 生產作耕耘。尤其當我在日本穿州過縣後，我開始反思 須藤的業務，怎樣反映出布匹的交易變遷，它好比一根 線，使行業如一繫風景般環環相扣，予我遊走。
Hyodo Orimono
兵藤織物
The warp beams expertly prepared by Mr Kijima are used at Hyodo Orimono, which weaves their warp yarns into Sudo’s exquisite wool fabrics, such as Colour Plate. Less homely but no bigger than Kijima, Hyodo Orimono is a onestorey weaving workshop lined with paper-screen windows. Each of their dozen or so Jacquard looms deciphers paper punchcards into instructions for weaving patterned fabrics. As punchcard panels were deciphered one at a time, their shuffling coincided with the mechanised passing of weave shuttles to create a symphony of percussive clatters. Only occasionally would a weft thread snap to cause a hiccup, which someone would fix, as though in a choreographed dance.
兵藤織物利用木島先生精心準備的經軸紗線，梭織成須 藤的精緻羊毛布料，例如《顏色塊》。兵藤織物是一間 單層式的紡織工廠，有一列日式趟門，少點住家感覺， 面積不比木島的工場大很多。他們有 10 多台提花織機， 每台機將打孔卡上的二進制密碼，破譯成為梭織紋樣的 指示。由於提花織機同時只能破譯一張打孔卡，所以打 孔卡的轉動與梭子的機械滑移會各自發出卡嗒聲，交疊 成敲擊樂曲。每當緯紗折斷，工人便會上場，敏捷地進 行修補，就如樂曲中預設的編舞。
須藤玲子： “ 布 ” 之作業
The well- and long-loved Jacquard looms of Hyodo Orimono clatters with every row of weaving 兵藤織物的提花織機是傳家的寶具，多年來織織復織織，卡嗒作響
Just outside and around the corner is what appeared to be a small shed, where perhaps some of the most impressive work at Hyodo Orimono reveals itself in steadfast quietness. As I entered, I saw that one of the workers sat behind a large table, hunched over a textile she had unrolled before her. When after a few moments my silence came to feel inappropriate, I said my hello. She invited me up into her workspace and I watched her work from above and behind.
在外面的轉角處，有一間看似儲物棚的空間，內有可能 是兵藤織物最令人讚歎的工序，透出一種蒼勁的靜態美。 我窺探到坐在大桌後的其中一位工人，弓著背很專注地 檢查攤在面前的織物。我漸覺沈默良久不夠得體，便跟 她打招呼，她邀請我進內參觀她的工作空間，讓我能全 方位地觀察她的工作過程。
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