BUAISOU 日本天然藍染工作
青 出 於 藍 Absolute Blue
BUAISOU Works with Japanese Natural Indigo
目錄 CONTENT
引言 PREFACE
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展覽紀錄片 EXHIBITION DOCUMENTARY
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展場圖片及展覽作品 EXHIBITION VIEW AND EXHIBITING WORKS
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藝術家簡介 ARTIST PROFILE
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BUAISOU的藍染全風貌 BUAISOU’S TOTAL MOOD OF INDIGO
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須藤玲子 Sudo Reiko
BUAISOU的極致之藍從何而來 ? WHERE DOES BUAISOU’S ABSOLUTE BLUE COME FROM?
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高橋瑞木 Takahashi Mizuki
團隊名單 STAFF CREDITS
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引言
PREFACE
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引言 青出於藍：BUAISOU之日本天然藍染工作」是年輕藍染工匠團隊 之日本天然藍染工作」是年輕藍染工匠團隊BUAISOU的首個大 的首個大 「 青出於藍： 型展覽，團隊在2015年成立於以傳統日本藍染聞名的德島上板町，從種植蓼藍、製作染 型展覽，團隊在 年成立於以傳統日本藍染聞名的德島上板町，從種植蓼藍、製作染
我亦感謝CHAT六廠的創始捐助機構陳廷驊基金會，以及主要捐助機構南豐集 我亦感謝 六廠的創始捐助機構陳廷驊基金會，以及主要捐助機構南豐集
料「蒅」至染色，實踐多種日本天然藍染方法；他們的染品不限於紗線和布料，亦有材
藝，喚起大眾對社會凝聚、環境生態、身心健康、創意革新及技術的關注。
團，感謝他們對展覽背後訊息的理解和支持，讓我們通過日常可見的當代紡織工
質堅硬的家具。最近，他們更開設了為工人而生的原創時裝系列。 最後，展覽有賴CHAT六廠團隊的共同努力而得以實現。我認為 最後，展覽有賴 六廠團隊的共同努力而得以實現。我認為BUAISOU團隊 團隊 BUAISOU嘗試挑戰天然藍染的技術限制，體現其作業精髓——一種與勞動息息相關、在 嘗試挑戰天然藍染的技術限制，體現其作業精髓——一種與勞動息息相關、在
對工作的熱愛，與我們團隊實行展覽策劃和製作的熱誠互相呼應。
農地及染坊凝結而成的靛藍。是次展覽便是藉著展示BUAISOU從種植至染色的整個製 農地及染坊凝結而成的靛藍。是次展覽便是藉著展示 從種植至染色的整個製 作過程以及不同的藍染技藝，訴說如何實現靛藍的深邃絢麗。 高橋瑞木 展覽將聚焦於BUAISOU的牛仔褲，而染製牛仔褲是 展覽將聚焦於 的牛仔褲，而染製牛仔褲是BUAISOU的熱愛和追求之一。時 的熱愛和追求之一。時
CHAT六廠（六廠紡織文化藝術館） 六廠（六廠紡織文化藝術館）
至今日，由於天然藍染牛仔褲過於耗費人力和時間，這種全人手的染製方式已愈趨鮮
執行董事及首席策展人
見。BUAISOU向牛仔褲的起源致敬，務求發揮其耐穿耐洗的特性，使之能成為工人的 見。 向牛仔褲的起源致敬，務求發揮其耐穿耐洗的特性，使之能成為工人的 第二層皮膚」，故展覽一部分亦展示了BUAISOU匠人滿佈勞動痕跡的工作服。 匠人滿佈勞動痕跡的工作服。 「第二層皮膚」，故展覽一部分亦展示了 是次展覽的構思和籌備工作都在疫情期間進行，儘管面對挑戰，BUAISOU成員包括楮 是次展覽的構思和籌備工作都在疫情期間進行，儘管面對挑戰， 成員包括楮 覺郎、結城研、小園忠、大須賀一真、石田宏武和西本京子，都投注了大量心力和時 間，將展覽呈現在觀眾面前。須藤玲子對展覽概念、紡織新作和布料的資料描述作出指 導。田代昌史精心設計的空間不僅豐富觀者的體驗，亦協助他們加深對作品的認識。此 外，川口泰吾攝製的影片巧妙捕捉BUAISOU對藍染技藝的不懈追求。原勇樹錄製、編 外，川口泰吾攝製的影片巧妙捕捉 對藍染技藝的不懈追求。原勇樹錄製、編 輯的聲效重現了BUAISOU耕地和工作室的環境。 輯的聲效重現了 耕地和工作室的環境。Twelve Twelve Inc.（京都）的多媒體裝置則提 示了人力勞動在紡織製作中的無可取代。
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特別感謝今村裕司的照片和理光株式會社的先進技術，我們得以還原BUAISOU的工作 特別感謝今村裕司的照片和理光株式會社的先進技術，我們得以還原 的工作 室並提供沉浸式體驗。展覽亦有賴於Karimoku 室並提供沉浸式體驗。展覽亦有賴於 Karimoku家具、 家具、Artek Artek、 、IDEE IDEE、藍瓶咖啡、福永紙 、藍瓶咖啡、福永紙 工、Nike 工、 Nike、松屋銀座店、井上徽章店、 、松屋銀座店、井上徽章店、JIMMY JIMMY CHOO及中里唯馬借出的產品，成功展現 CHOO及中里唯馬借出的產品，成功展現 BUAISOU經過不同合作而培養的開放態度和無所畏懼的創造力；我衷心感謝曾經參與 經過不同合作而培養的開放態度和無所畏懼的創造力；我衷心感謝曾經參與 展覽製作的每一位。
Preface Absolute Blue: BUAISOU Works with Japanese Natural Indigo is the first comprehensive exhibition to introduce the works by BUAISOU, a young craft collective working with Japanese natural indigo based in Tokushima, Japan. The collective was founded in 2015 in Kamiita-cho, Tokushima prefecture, a place known for traditional Japanese indigo dye. From farming tade-ai (Japanese natural indigo), to fermenting sukumo (dye) and dyeing, BUAISOU has conducted diverse practices using Japanese natural indigo dye, dyeing not only yarn and fabric but also furniture with hard materials. Recently they started making their original workers’ clothing line. Challenging the technical limit of natural indigo dye, the essence of BUAISOU’s works lies in the beauty of the colour blue, a colour highly associated with labour, whether in the farmland or the workshop. In this regard, the exhibition aimed to reveal how these beautiful blue colours can be achieved by introducing BUAISOU’s various practices from farming to dyeing with natural indigo as well as applied techniques. Furthermore, the exhibition highlighted jeans made by BUAISOU, one of their pursued passions. Paying homage to the garment’s humble origins, BUAISOU’s jeans are made for workers with the hope of becoming their second skin and to withstand regular wash and wear. Part of the exhibition presented used BUAISOU workers’ wears marked with traces of labour.
visitors’ experience but also enhanced understanding of BUAISOU’s series of works. On the other hand, the videos by Kawaguchi Taigo in the exhibition well captured BUAISOU’s tireless efforts in producing high-quality works.
With photographic images taken by Imamura Yuji and Rico Co., Ltd.’s advanced technology, we could restage BUAISOU’s studio inside our gallery and provide an immersive experience. Thanks to the lenders, including Karimoku Furniture Inc., Artek, IDEE, Blue Bottle Coffee, Fukunaga Print, Nike, Matsuya Ginza, The Inoue Badge Shop, JIMMY CHOO and YUIMA NAKAZATO, the exhibition successfully presented BUAISOU’s open-minded attitude and fearless creativity cultivated through multiple collaborations. My sincere gratitude goes to all these people and organisations who participated in the making of the exhibition. Appreciation is extended to CHAT’s founding donor, the D. H. Chen Foundation, and our main donor, Nan Fung Group, for their generous understanding of the meaning of BUAISOU’s exhibition which aimed to enhance the awareness of social cohesion, ecology, wellness, innovation and technology through contemporary textile crafts in everyday life. Last but not least, the exhibition could not happen without the collective effort of CHAT’s team. I believe BUAISOU’s passion for their work echoed with CHAT’s one that helped realise the exhibition.
Takahashi Mizuki Executive Director and Chief Curator Centre for Heritage, Arts and Textile
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The exhibition was conceived and realised in the midst of the COVID-19 pandemic. Despite challenging situations, the BUAISOU team, including Kaji Kakuo, Yuki Ken, Kozono Tadashi, Osuka Kazuma, Ishida Hiromu, and Nishimoto Kyoko, dedicated time and effort to creating this engaging exhibition. Sudo Reiko had provided direction and guidance on the exhibition concept, new textile pieces, and the technical descriptions of textiles in the exhibition. Tashiro Masafumi’s thoughtful exhibition design not only elevated
The sound effects recorded and edited by Hara Yuuki recreated a lively work environment of BUAISOU’s farm and studio. Multi-media installation by Twelve Inc., Kyoto, reminded visitors of the irreplaceability of human labour in textile making.
展覽紀錄片
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EXHIBITION DOCUMENTARY
Click to view the Exhibition Documentary
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按此播放展覽紀錄片
展場圖片及展覽作品
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EXHIBITION VIEW AND EXHIBITING WORKS
《藍靛生葉敲拓染絲綢橫幅》 2022 藍靛生葉印花絲綢 紗廠紡上方延伸的藍色葉紋絲織品，由日本藍染團隊B UA I S O U 製 作。這些圖案並非機印，而是以一種名為「拓染」的錘葉印花技術所 製。BUAISOU在布上鋪滿採摘得來的蓼藍葉片，再把乙烯基片放在面 層，然後敲打表面，印出帶有葉片顏色的葉紋印花。
Hammered Fresh Indigo Leaf Silk Banner 2022 Silk printed with fresh indigo leaves The blue-green leaf patterned silks stretched above the Hall were dyed by Japanese indigo studio BUAISOU. The pattern is not machine printed but handmade with a technique called tataki-zome (hammered leaf print). BUAISOU scattered freshly picked Japanese indigo leaves onto the fabric, placed vinyl sheet on top, and then beat the surface to create leaf prints with the colours of the leaves. The 23 silk belts of leaf print fabric
按下播放圖示以觀看短片 Click the play button to view the video
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abstractly represent BUAISOU’s indigo farm.
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《百色幟》 2022 染色苧麻 每幅250 x 40厘米
Banners in 100 Indigo Shades 2022 Dyed Ramie 250 x 40 cm each
在日本江戶時代（17至19世紀），社會階層受到嚴格管
In the Edo Period Japan (17th-19th century),
制。當時執政的德川幕府頻繁頒布公告和奢侈禁止令，
social classes were strictly regimented. The
強制規定百姓節儉。平民不能展示華麗的一面，於是以 所謂的「四十八茶百鼠色」作為回應，即在灰啡色系之 中細緻區分不同變化的色調，以此體現品味。BUAISOU
ruling Tokugawa Shogunate issued frequent proclamations and sumptuary laws in an effort to enforce frugality, to which commoners otherwise forbidden to make ostentatious show
的《百色幟》亦一樣，從靛藍色系之中創造出無限變化
of luxury, responded with the so-called ‘forty-eight
的色調，以此展現染匠們的精湛技藝。
browns and hundred greys’. These subtly varied dark shades then became the byword for good likewise attests to the dyers’ consummate skill in creating an infinite range of hues from indigo.
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taste. BUAISOU’s Banners in 100 Indigo Shades
一切由種藍開始
Starts with Cultivation
傳統的日本藍染工序，通常分為兩部份：製作染料
The traditional Japanese dye process is normally
和布料染色，一直以來兩種工序均分別由經驗嫻熟 的師傅主理；然而日本藍染團隊BUAISOU卻由製 染以至染布工序均一手包辦。世上約有4種不同種類 的靛藍植物，當中蓼藍是日本原生植物。 種植蓼藍要從3月開始。BUAISOU在工作室附近 0.7公頃的農場培植蓼藍，培植後便要經常施水和清
divided into two parts: making the indigo vat and dyeing. Each part was historically handled by a skilled master. However, at BUAISOU, they perform all the processes from making indigo vat to dyeing. There are roughly 4 different types of indigo-bearing plants found in the world. The indigenous plant in Japan is called Persicaria tinctorial (commonly known as Japanese indigo).
除雜草。蓼藍長得很快，6月已有收成，收穫的葉片 會暫時儲存在溫室待乾，並用電風扇吹除梗莖和灰 塵。乾葉可重達1,500公斤，收穫可相當豐盛！
Cultivating Japanese indigo begins in March when BUAISOU plants 0.7 hectare at a farm nearby their studio. After planting, the indigo crop requires frequent irrigration and weeding. Japanese indigo grows very quickly with harvest starting in June. The picked leaves are then dried
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in a green house and dust and stems are removed by the blowing of an electric fan. The dried leaves can weigh as much as 1,500 kg - what an abundant crop!
按下播放圖示以觀看短片
Click the play button to view the video
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葉片堆肥 製作染料
Composting Leaves to Make Sukumo
「蒅」是日本傳統的靛藍染料，以乾燥的蓼藍葉子堆
Sukumo is a traditional Japanese indigo dye
肥而成，過程約需4個月。收割及風乾後的葉片被
made by composting dried Persicaria tinctoria
堆在棚裏，再蓋上稻草墊以保持適當溫度，每星期
leaves. The composting process usually require
必須適量澆水、把葉子混合翻轉，令堆肥過程保持
4 months. The harvested and dried leaves are
均勻，這項工作稱為翻土。古時曾有「水師」這個
heaped in a shed and covered with rice-straw
行業，專職在乾葉加入精準的水量。堆肥過程會釋
mats to maintain a particular temperature.
放氨氣和和高達攝氏70度熱力。這項工序完成後，
Supplying the right amount of water and
製成的染料可以保存多年。
mixing and turning the mound of leaves once a week is essential - this process is called kirikaeshi. In the old days, there was an occupation called mizu-shi or water masters who specialised in adding just the right amount of water to the dried leaves. Composting indigo leaves emit ammonia gas and heat up to 70℃.
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Once this process is completed, the resulting indigo dye can be preserved for years.
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Click the play button to view the video
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《繩狀筒卷紮染暖簾》 2022 染色麻布 250 x 315厘米 日式絞染是一種相對原始的圖案染色工藝，利用捆綁、縫紉或纏紗等方 法，令布的一部份位置不會上色。BUAISOU所取的方法則是對傳統染 色技法嵐絞染進行動態的現代演繹：把布卷在桿上，現在則可綑上水 管，然後用繩索緊緊綁纏，利用繩子的粗糙纖維束成防染的紋理。要製
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作這樣的作品需用很大的力度和決心。
Rope Cylinder Tied Pattern Noren 2022 Dyed hemp 250 x 315 cm Shibori-zome is a relatively primitive technique of pattern dyeing involving tying, sewing or winding yarn to create areas where dye cannot penetrate. BUAISOU’s preferred method is a dynamic modern take on traditional arashi-shibori dyeing whereby cloth is wrapped around a rod - or now a waterpipe and a rope is wound tightly around that. The rope’s rough fibre strands serve as a textured dye resist. It takes a lot of strength and determination to realise a piece like this.
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示以觀看短片 on to view the video
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蓼藍的花 Indigo flower Persicaria tinctoria
蓼藍種子 Indigo seeds Persicaria tinctoria
蓼藍的乾燥葉 Dried indigo leaves Persicaria tinctoria
蒅 Sukumo
小麥麩 Wheat bran
貝殼灰 Shell ash (Shell lime)
木灰(硬木） Wood ash (hardwood)
木灰水(灰汁） Wood ash water (Lye)
糯米粉 Sweet white rice flour
米糠 Rice bran
米糊 糯米粉及米糠 Rice glue Sweet white rice flour and rice bran
蠟 Batik wax
蒟蒻粉 Konjac powder
醋 Vinegar
大豆粉 Soy bean flour
生麩糊 小麥粉 Shofu glue Wheat starch
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工具展示桌 Tools Display Table
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13 7 桌面展示
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On the table
1. 塑膠製紙樣連木框
型染用的紙樣。為了能連續施加糊劑，紙樣形 狀設計成容易貼於木框及在布料上卸除。
1. Plastic stencil paper with wooden frames
Stencils that are placed on textile materials when stencil dyeing. They are designed to be easily pasted onto wooden frames and peeled from cloth. In this way, paste can be applied continuously.
2. 手寫筆記
簡單的便條紙。記有紙樣的生產數目。曾經是 日曆的紙張之類。
2. Handwritten notes
Notes, jotted down on a piece of paper from a tear-off calendar, detailing the number of stencils produced, etc.
3. 廢棄的和紙
作品製作過程中給布料打底時用剩的和紙。我 們一直不捨得扔掉，繼續當作和紙循環再用。
3. Japanese paper scraps
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Leftover Japanese paper scraps after being used as lining of clothes. We did not want to throw them away, so they have been used as recycled Japanese paper.
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蠟染用的刷子。
4. Brushes
Brushes used for wax-resist dyeing.
5. 木條
bristle brushes. It is a tool used to prevent liquid being applied unevenly when dyeing Japanese paper and leather.
8. 圓規
即場製作的圓規。可繪畫很大的圓形。
撐開布料用的木塊。曾是某件作品一部分，現 在當作道具使用。木塊和繩索也有染色，而針 則是將不鏽鋼釘的前端切下來打進去。
8. Compass
5. Wooden bars
9. 彈簀夾鉗
Wooden bars for spreading out fabric. This was part of a previous work piece but it is now used as a tool. Both the wooden bars and the ropes are dyed, and the needles inserted are made by cutting the heads off stainless-steel nails.
6. 竹桿
伸子。風乾時可將布料撐開，浸染時則可作 懸吊用途。
6. Bamboo stick
Shinshi. Used as a tool for stretching the fabric taut to dry as well as for hanging it for dyeing.
7. 刷子
兩個刷子組合起來的大刷。可在浸染和紙與皮 革時使染液均勻。
7. Brush
A large brush made of two smaller
Home-made compass. It can draw large circles.
簡單的鉗。用途廣泛，如施糊劑、撐起桿棒等。
9. Spring clamp
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11. Paper tube Paper tube for rolling fabric. The paper is bonded onto the tube so the fabric will not slip off after being rolled on
12. 乙烯基膠紙
用於修補潮濕部件例如攪拌棒等。
12. Vinyl tape
Used for repairing wet tools such as stirring rods
13. 計時器
浸染及後期加工時用。
A simple clamp. It is used for various tasks, such as applying glutinous rice and holding rods in place.
13. Timer
10. 手動滾筒
可用來造簡單的板締製作和撐起桿棒。在大 型施糊工序及木材加工上世有多種用途。
染漸變色時，如果布料長度比染缸高，就要使 用這件道具。能夠將布料從染液捲起。大小剛好 能架設於染缸上。
10. Manual roller
A tool used to roll up cloth from an indigo vat for gradient dyeing, when the length of the fabric exceeds the height of the vat. The size of the roller is designed so that it can straddle the top of the vat.
11. 紙管
捲布用的紙管。紙張貼於管上固定，避免布匹 捲起後整幅滑落。
Used during dyeing and post-processing.
14. 夾鉗
14. Clamp
This can be used for simple boardclamped dyeing, for supporting rods, and also other tasks in large-scale paste application and wood processing.
15. 不銹鋼夾
吊染時夾在布料下方以作配重使用。以不鏽 鋼製成，耐久度高。
15. Stainless steel clip
Used as a weight attached to the bottom of the cloth during hang dyeing. Made of stainless steel so as not to rust.
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20. Towel
Used to wipe hands, tools, floors, and various other surfaces. All are either recycled or a small present.
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21. 醋
後期加工時用於中和酸鹼值。
21. Vinegar
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Used to neutralise pH during post-processing.
22. 手套
對雙手構成負荷的工序必備。
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22. Gloves
A must for work that puts strain on the hands.
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16. 鋼篩
用來清洗及風乾夾子。
16. Steel sifter
Used to wash and dry clips.
17. PVC管
製作絞染暖簾期間作實驗用途。
17. PVC pipe
Made while experimenting with tie-dye noren.
18. 罐
用來加強黏合紙樣與紗網的塗料。在型染暖簾 作品中僅用來強化紗網。
18. Can
23. 繩索
絞染畤用來掬綁膠管的繩索。硬度和粗度經 過精心挑選。
23. Rope
Ropes used for wrapping pipes during tie-dyeing. Carefully selected for hardness and thickness.
24. 布料樣版
捆捲膠管進行絞染的實驗樣版。
24. Fabric sample
Experimental sample for pipe-wrapped tie-dyeing.
25. 電子加熱器
蠟染時用來將蠟加熱溶化。
25. Electric heater
Used to melt wax when wax-resist dyeing.
BUAISOU的商品。日本橫田DARUMA兩色 手縫線及藍染碎布套装。 29. Hand-sewing thread box A BUAISOU product. DARUMA hand sewing thread set in two colours and indigo-dyed scrapes of cloths.
27. 角尺
用於在布料上做記號、改裝工房及製作小道 具等工作。
27. Carpenter’s square
Used for marking fabric, remodelling the workshop and making small tools, etc.
34. Pliers
For various uses such as making tools and creasing thick fabric such as canvas and denim.
35. 剁刀
就算在常用工具中使用率也是數一數二。不 常備左右的話就無法安心。自動鎖式比錶盤 式更完美。
35. Cutter
Among the most frequently used tools by far. I always feel uncomfortable without one. Auto-lock models are preferable to dial-lock ones.
30. 裁縫剪刀
36. 筆
30. Sewing scissors
36. Pen
工房中有三種剪刀：粗布用、厚布用和薄布 用。這是粗布用的。 In the workshop, there are three types of scissors: one for rough fabric, one for thick fabric, and one for thin fabric. This one is for rough fabric.
31. 楮覺郎筆記A
用於記錄拔染的藥劑組合比例。不同布料、 不同顏色及不同染法，比例各有不同 。
31. Kaji’s note A
This is used to record the ratio of mixing chemicals for discharge dyeing. The ratio varies depending on different cloth, colour, and the way the discharge dyeing is carried out.
32. 楮覽郎筆記B
將日常資料記錄剪貼製成的記事簿，可以一 眼看清靛藍染液的一生。
以有瑕疵的包裝盒製作小道具時，用來在木 材上塗接著劑的即棄小鏟。
33. Cardboards
Disposable spatulas for applying glue to wood when we use damaged product boxes to make small tools.
34. 鉗子
用於製作道具及在帆布及牛仔布等厚物料上 摺出折痕 。
筆跡可以用水洗去。施加糊劑或塗蠟的時候 作打稿用。 With water-washable ink. Used for under-drawing before applying paste and wax.
37. 鉛筆
起草稿用。在白布或染布上會使用不同顏色。
37. Pencil
For under-drawing. Different colours are used depending on whether the cloth is white or dyed.
38. 麥克筆
水洗也不容易脫色的筆。可用來在私人工具 上寫名，或於絲網印刷製版時在菲林上作手 繪設計。
38. Fine Point Marker
Its ink can be washed only with some difficulty. Ideal for writing names on personal tools and drawing on films when creating silk screens. 39. 膠水 可用於木材與金屬等的多用途膠水。施加後 能在半乾狀態下黏合，十分容易使用。
39. Glue
Multipurpose glue for wood and metal. Easy to handle as it glues half-dry after application.
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抹手、抹道具、抹地板及各種東西。均為再用 布或小禮品。
29. 縫線盒
33. 紙板
Used as a reference for our products and also for emergencies such as if our lighter runs out of fuel. The packaging has not changed in years.
20. 毛巾
Used for repairing wet stuff items such as stirring rods.
26. Matchbox
19. 噴霧
Used for ironing, stencil dyeing, as well as spraying sizing agents when gradient dyeing.
28. Tapes
製造商品時參考用。打火機燃料用盡時也可 應急。包裝多年來一直末變。
26. 火柴盒
19. Spray
用於修補潮濕的部件，例如攪拌棒等 。
32. Kali’s note B A record cut and pasted from the daily data notebook. The life of the indigo dye can be seen at a glance in this record.
Coating material used to strengthen the attachment of the stencil and the gauze. Used only to strengthen the gauze in the production of stencil-dyed noren. 用於熨布、型染以及漸變染的防滲噴霧。
28. 膠紙
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BUAISOU的品牌合作
BUAISOU’s Collaboration
BUAISOU的精湛技藝，令國際高級時裝品牌、家具
BUAISOU’s remarkable skills have fascinated
製造商、運動服飾品牌等不同領域的創作人均為之著
creators from the diverse fields of high fashion,
迷。BUAISOU追求日本傳統的藍染技術之餘，亦積極
furniture making, and sportswear. While pursuing
與各界設計師和製造商合作，以拓闊染布技術的運用
traditional Japanese indigo dye methods,
以及天然藍染的展示模式。
BUAISOU has proactively sought collaboration with various makers and designers to broaden the use of different techniques and modes of ABSOLUTE BLUE | 29
expression for natural indigo dye.
《幔幕型模糊蠟染暖簾》 2022 染色棉及苧麻 250 x 640厘米 蠟染技術蛹結染需以刷子或印章把加熱了的蠟塗在織物上， 再將織物放入染缸，然後浸入沸水，把蠟融掉。BUAISOU主 要使用礦物石蠟，但亦會按圖案設計而混入植物蠟和蜂蠟， 以求創造更佳的色深、層次、質地和濃度。蠟染的最終成果難 以預測，但BUAISOU憑藉豐富經驗和全面規劃，能計算出蠟 的最佳厚度，非常可靠。而BUAISOU特別研發的蠟染技術，
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是在塗蠟區域之內外製造一種模糊效果。
Blurred Wax Resist Dyed Noren in Manmaku Curtain Form 2022 Dyed cotton and ramie 250 x 640 cm Roketsu-zome wax-resist dyeing involves applying heated wax to the fabric by means of brush or stamp, immersing the fabric in an indigo dye vat, then dipping it in boiling water to melt away the wax resist. BUAISOU uses mainly mineral-based paraffin wax, but also mixes in mokuro (plant-based wax) and mitsuro (beeswax) as dictated by the pattern in order to better create colour depth, gradation, texture and volume. The final results of wax-resist dyeing are difficult to predict, but BUAISOU’s years of experience and comprehensive grasp of the optimum thickness of wax have proven very reliable. BUAISOU’s special invented technique of wax-resist dye creates a blurred effect between the dyed and undyed areas. ABSOLUTEBLUE BLUE||31 31 ABSOLUTE
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BUAISOU自家裝修的工作室
BUAISOU’s Self-Renovated Studio
BUAISOU的工作室由他們親手改裝牛棚而成，幾乎
BUAISOU’s members renovated a cowshed to
所有家具都由團隊成員自己製作，包括層架和工作
create their own studio. They made almost all their
枱。他們從五金店買入木板和水泥磚等便宜材料，或
furniture, including shelves and workshop tables,
是回收廢棄家具。木製工作室佔地約300平方米，大
out of inexpensive mundane materials such as
致分為三部份：辦公室、染色洗滌工作室和車間。
wooden plates, concrete blocks from hardware stores, and recycled abandoned furniture. The
BUAISOU所用的工具大都可從五金店買到，他們亦
300-square-metre wooden studio is divided into
經常自行改裝，令工具適合不同用途。這些改裝和回
three sections: office, studio for dye and wash, and
收的設備和工具，體現了BUAISOU的DIY自創精神。
sewing workshop. Most of BUAISOU’s tools can be sourced from hardware stores, but they are often customised to
by repurposing and recycling represent BUAISOU’s ‘Do It Ourselves’ spirit.
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fit their new purpose. The studio and tools made
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按下播放圖示以觀看短片 Click the play button to view the video
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製作門簾
Making Noren
BUAISOU認為布不僅只是一塊空白的平面，他們更醉心
BUAISOU regards cloth as more than just a blank
於布料的表現和作用：拉緊、懸垂、飄揚、變薄、變軟、
surface; they truly appreciate the way cloth acts
變皺，甚至撕裂。
and functions by stretching taut, draping, fluttering, or becoming transparent, soft, wrinkled and even
日本傳統的和服布料一般織成38或45厘米寬的窄幅織
tearing.
物，再將織物縫合，製成各種衣物。戶外使用的布料亦如 是，於寺廟和神社舉行葬禮和其他儀式時使用的「縫製橫
Japanese kimono fabrics are traditionally woven in
幅」，就是由布料拼湊縫合而成。BUAISOU其實更喜歡
38cm or 45cm width that are then stitched together
染製窄幅織物，因此他們以窄幅織物配上各種不同技術，
into various wearable items. This is the same for fabrics
為今次展覽製作了4款全新「暖簾」，即日式門簾。
used outdoors such as sewn banners for temples, funeral shrines and other ceremonies, which have
BUAISOU灌注大量時間和體力，鑽研靈巧的技藝，製作
been pieced together into great lengths. BUAISOU
出充滿活力的精緻設計之餘，同時保留了日本傳統的圖形
also prefers dyeing narrow-width fabrics and has
風格。
used them to create 4 new types of Japanese noren
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(dividing door curtains) with different techniques for this exhibition. BUAISOU spends time and physical effort to develop dynamic yet refined craftsmanship that still retains the traditional Japanese graphic touch.
1
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2
桌面展示
On the table 3. BUAISOU成員的𠝹刀 雕刻師使用的别刀各適其適。每把均有寫上成員的姓名。石田大師用的𠝹刀只要 100日元。
1. Plastic stencil paper Stencils for noren stencil-dyeing. Since they are made of plastic, they do not expand or contract due to moisture. Directly printed and hand-engraved.
3. BUAISOU members’ cutters Engravers have different preferences regarding cutters. All cutters are labelled with the name of the member. Ishida, a master engraver, uses a 100-yen cutter.
2. 刀片盒 别刀的替換刀片。特别選用了適合紙樣的款式。 2. Box for blades Replacement blades for cutters. This one is carefully selected for working on stencils.
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1. 塑膠製紙様 製作型染暖簾作品的紙樣。塑膠製，不會隨乾濕伸縮。直接打印出來後手刻而成。
1 2 桌面展示
On the table
1. 推車架 方便施糊或塗蠟時一邊移動一邊工作。 1. Cart rack Used for applying paste and wax while mobile.
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2. 苧麻織物 型染暖簾作品使用的手織布料。右邊是白布，中間是 施了糊劑的布，左邊是染色並剝除糊劑後的布。 2. Ramie fabric Hand-woven fabric used for noren stencil-dyeing. The one on the right is white fabric, the middle one has paste applied to it, and the one on the left is dyed and has had its paste removed. 3. 膠杓子 攪拌糊劑用的杓子，與不鏽鋼碗十分匹配。 3. Silicon scoop A scoop used to stir the paste. It works well with stainless steel bowls.
4. 絲網 施加糊劑時放在紙樣上防滑的工具。 4. Net Placed on top of the stencil to prevent it from sliding off when applying paste. 5. 配重 將絲網蓋在布料上面後，再用它把布料和紙樣一併壓住。只要 重量夠，甚麼東西都可以。這𥚃我們用舊熨斗。 5. Weight Weighs down the net to hold the cloth, the stencil and the net together. Any heavy weight will do. We use an old iron here. 6. 啞鈴 用絲網蓋在布料上面後，再用它把布料和紙樣一併壓住。只要 重量夠，甚麼東西都可以。這裡我們用啞鈴。我們有時也用來 健身。 6. Dumbbell Weighs down the net to hold the cloth, the stencil and the net together. Any heavy weight will do. We use a pair of dumbbells here. Occasionally, we also use them for physical exercise.
7. 刮鏟 用來把糊劑施加在布料的鏟。前端是矽膠製，不會傷 及絲網。 7. Squeezer A spatula for applying paste on fabric. The tip is made of silicon so it won’t damage the net. 8. 刮刀 臨時貼上布料的板上會有糊劑溢出，要用這件工具移 除，否則下次貼上布料時，料劑就會黏在布背。 8. Scraper A tool used to remove excess paste from the board to which fabric is temporarily attached. If not removed properly, the paste will stick to the back of the next piece of fabric. 9. 麥克筆 用來於紙樣晝中線等記號 。 9. Fine point marker Used to mark the centre line on the stencil.
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11
12
10
8
4
13
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14 6
18 15
16
10. 膠紙 由於糊劑會在板上溢出，施糊前可貼於溢出位置，以作保 護用途 。
13. 日程 製作大型作品時，因為要按數日施糊及染色，顏色或會有差 異。這是隨機於不同位置施糊時用到的日程紀錄。
10. Tape Applied to boards to prevent excess paste building up.
13. Plan For large works, applying paste and dyeing are done over several days, and each day the colour can be different. This is a memo that notes the schedule when wedistribute the paste randomly.
11. 布 施糊時，為避免糊劑溢出紙樣沾到不該沾的部分，用 布保護紙樣前後兩邊。 11. Cloth Cloths can be used to protect the top and bottom of the stencil, so that the paste will not accidentally ooze out of the stencil onto the wrong part during application.
12. Weight Weighs down the net to hold the cloth, the stencil and the net together. Any heavy weight will do. This was originally used by tailors for cutting, but it can be used to apply paste too.
17. 銀色直尺 為施加糊劑的位置做記號時用。 17. Straight silver scale Used to mark the position when applying paste. 18. 小鏟 用來將少量糊劑添加於紙樣上，或在剝除紙樣後作修補等用途。
14. 攪拌用碗 混合塗劑和天拿水的容器。
18. Spatula Used to place small amounts of paste on the stencil, or for repairing after the stencil has been removed.
14. Mixing bowl A container for mixing the coating material and thinner.
19. 刷子 布料暫時貼於板上時，清除膠水用的金屬刷。
15. 刷子 為絲網上塗料的工具。
19. Brush A metal brush used to remove the glue from the board to which the fabric is temporarily attached.
15. Brush For applying the coating material to the net. 16. 橡膠造刮鏟 進行大型施糊工作時用。 16. Rubber Squeezer Used in large-scale paste application process.
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12. 配重 用絲網蓋在布料上面後，再用它把布料和紙樣一併壓 住。這原是裁縫剪裁時用，但也可用於施糊工作。
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4
5 6
1
桌面展示
On the table
1. 染料日記簿 我們每日上班的首個要務是以藍液試染。這項每日不可或 缺的採樣工作能讓我們掌握各缸染液的狀況和特徵，從而 計劃工作的優次 。 1. Dye vat diaries The very first thing we do when we get to work in the morning is use the indigo dye to dye a colour sample. By taking data every day, I get a feel for the status and characteristics of different dyes and plan my work accordingly. 2. 筆 當然這是日記簿用，但由於它是放在工房中央，大家都會 借走。雖然理論上用完應該還回來，但筆的款式還是次次 不同 。 2. Pen Of course, it is supposed for the diaries, but since it is left in the middle of theworkshop, everyone borrows it. And though it is supposed to be returned, you find that every time the pen is a different one.
4. 膠紙 由於糊劑會在板上溢出，施糊前可貼於溢出位置，以作保護 用途。 4. Tape Applied to boards to prevent excess paste building up. 5. 棉布 用作試色的白色碎布。 5. Cotton fabric Scraps of white cloth for colour testing. 6. 玻璃樽 環保再用物品。原來好像是果醬或者是布甸之類的容器。 6. Glass bottle Reused bottles. Originally jam or pudding containers.
3. 鉛筆 由於筆跡可能會消失，我們基本上不會在日記簿使用。 3. Pencil We don’t use it often for diaries because the markings can fade.
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《四木三草圖案夾染暖簾》 2022 染色麻 250 x 400 厘米 夾染是一種曾經式微的傳統染色方法，經BUAISOU重拾這個技 法而復興。製法是把布料緊緊夾在兩塊雕花木板之間，再把染 料倒入木板上的小孔。BUAISOU並沒雕刻板面，而是把木板切 割成流體形狀，創造出有如等高線圖般的疊層，所製圖案包括 代表長壽吉祥的六邊形龜甲紋圖案，以及古時「四木三草」的 植物圖像：「四木」為桑、楮、茶、漆，以及「三草」為藍、
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紅花、麻。
4 Trees and 3 Plants Pattern Noren 2022 Dyed hemp 250 x 400 cm
A revival of the abandoned kyokechi, also called ita-jime board clamping, this ancient method had not put into practical production until BUAISOU took up the challenge. Instead of carving the surfaces, they cut the boards into fluid shapes to create unique contour map-like overlays and pouring indigo between the pieces. The patterns include auspicious choju-kissho symbols, kikko-mon tortoise shell hexagons, as well as hints of early modern shiboku-sanso plant imagery: mulberry, paper mulberry, tea, lacquer, indigo, safflower and hemp.
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《太布農民工作服》
《古董牛仔布》
約1942 手紡楮樹纖維線 德島縣立博物館藏品
約 1870年代 棉 BUAISOU藏品
位於深山的「木頭村」一直以楮樹皮編織「太布」，
這塊古董牛仔布於1870年代製作，由美國三藩市原
這個古老傳統持續至今。冬季收穫的楮樹皮條會於
創牛仔褲品牌Roy Denim的創始人羅伊·斯拉珀贈
融化的雪中焯燙，然後冷凍過夜以軟化纖維，再織
予BUAISOU的楮覺郎。楮覺郎曾於2018年參觀斯
成農民的工作服或包裹布。
拉珀的工作室。
這件展品是一件農民的工作服，約於1942年左右由
2019年，BUAISOU再訪三藩市並開展了藍染工作
榊野朝以坐式織布機製作，使用了手紡的楮樹纖維
坊。斯拉珀聽到BUAISOU用自耕靛藍製作牛仔褲
線，再作藍染和手縫。
後大受感動，就把這塊古董布料送給楮覺郎。後來 斯拉珀關閉了他的工作室，更把自家的古董衣車傳
（參見竹内淳子《草木布II》，法政大學出版局 ，
承給BUAISOU使用。
1995年 ）
Tafu Farmer’s Workwear circa 1942 Hand-spun kōzo fibre threads Collection of the Tokushima Prefectural Museum
Vintage Denim Fabric circa 1870s Cotton Collection of BUAISOU
In Kitō-son, a tiny village deep in the
This vintage denim fabric was made in the
mountains, an ancient tradition of weaving
1870s and given to Kaji Kakuo by Roy Slaper,
tafu cloth from kōzo mulberry paper
founder of original jeans brand Roy Denim in
continues to this day. Harvested in winter,
San Francisco, USA. Kaji had an opportunity
strips of kōzo are blanched in melting snow
to visit Slaper’s workshop in 2018.
and left out to freeze overnight to soften the fibres before weaving into noragi (farmers’
In 2019, when BUAISOU returned to San
workwear) or furoshiki (wrapping cloths).
Francisco for an indigo dye workshop, Slaper gave this piece of antique fabric to Kaji because he was moved by the story of BUAISOU making
around 1942 by Sakakino Asa on a seated
their own jeans with home-grown indigo. Later,
loom from hand-spun mulberry fibre threads,
when Slaper closed his workshop he passed
and then indigo dyed and hand-stitched.
on his own vintage sewing machines over to
(ref. Takeuchi, Junko, Somokufu II [Wild Plant Fabrics II], Hosei University Press, 1995)
BUAISOU.
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The exhibit is a farmer’s workwear woven
製作原創牛仔褲
Making Original Jeans
BUAISOU的創始成員楮覺郎對古董牛仔褲的世界相
Kaji Kakuo, a founding member of BUAISOU,
當着迷，更因此在藝術學校研習紡織染料。從那時
was motivated to study textile dyes in art
起，他就一直希望能夠從事日本天然藍染工作和自行
school because he was mesmerised by vintage
製作牛仔褲。夢想終於在2018年實現──第一款型
jeans. Since then, Kaji has pursued his dream
號是產於2018年的810，式樣沿用了19世紀末發明
to make jeans with Japanese natural indigo
的第一條牛仔褲款式，並以天然靛藍染色；2020年
dye. Until now, BUAISOU has produced three
生產的第二款型號819則採用較薄的牛仔布，減省製
models; the first model in 2018, 810, follows
作步驟以令手工牛仔褲能達到相對合理的價格；於
the pattern of the very first jeans designed in
2022年推出的最新型號1194參考了1870年代的古董
the late 19th century. The second model, 819,
牛仔布，採用相同的紗線支數和編織結構。
produced in 2020, uses thinner denim with less fabrication steps to achieve a relatively affordable
BUAISOU的原創牛仔褲承襲了最初「牛仔褲作為工
price for hand-made jeans. The latest model,
人服裝」的原型設計，寬鬆的剪裁令工人可以輕鬆彎
1194, was completed this year. Referencing
身和蹲下，而且久經穿著及洗滌後，牛仔褲會更貼合
vintage denim fabric woven in the 1870s, 1194,
身體，猶如變成第二層皮膚。
launched in 2022, is made with the same yarn count and weave structure as vintage denim
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woven in the 1870s. BUAISOU’s original jeans follow the archetype of denim workwear with a loose silhouette allowing workers to bend and squat easily. The longer they are worn and washed, the more they fit like a second skin for the wearer.
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6. 機器部件 可因應搭縫寬度或分層等縫製要求而更換的壓腳。
11. 尺子 透明設計適合用於處理紙樣。
6. Machine attachment Presser feet that can be attached to the sewing machine depending on different sewing needs, such as sewing lapped seam of different with and with different layers.
11. Ruler Easy to use when handling stencils as it is transparent.
2. 描線輪 在布料上劃線用。
7. 鈕門布 用柿涉染給鈕扣眼絲線染色時的第一樣板。
12. Ruler
2. Roulette Notes, jotted down on a piece of paper from a tear-off calendar, detailing the number of stencils produced.
7. Buttonhole cloth The very first sample of buttonhole thread dyed with persimmon tannin.
3. 小鏟 在布料上劃線用。
8. 粉筆盒 在牛仔布料上按紙樣畫線時用。由於比鉛筆更易擦去，因此十分好用。
3. Spatula Used for marking lines on fabric.
8. Chalk box Used as a weight attached to the bottom of the cloth during hang dyeing. Used for drawing stencil lines on denim fabric. Easier to handle than pencils because chalk can be wiped off more easily.
1. L字板 在布料上劃線用。用來在帆布等堅韌布料上劃折線記號的道具。角 位削圓。 1. L plate A tool used to make fold marks on stiff fabrics such as canvas. The corners are rounded off.
4. 束帶扣 裝配在牛仔褲腰部的鐵扣。沒有進行防鏽加工的特製品。
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4. Cinch Buckle An iron buckle attached to the waist of the jeans. This is a custom-made one without post-production treatment so that it will rust. 5. 針墊 原創產品。軟墊裡面的未精練羊毛含有毛脂，令織針不會生鏽。 5. Needle cushion Original product. The cushion contains oil from raw wool, which prevents needles from rusting.
12. 尺子
13. 機縫紉線（白色） 用於染色前的白布。由於是100%棉，線絲會與成品一同染色。 13. Machine sewing thread (white) Used on white fabrics before dyeing. As this thread is 100% cotton, it will be dyed. together with the product. 14. 機縫紉線 (靛藍) 染色後縫製時用。我們總是常備不同顏色、不同紗線支數的絲線。 14. Machine sewing thread (indigo) Used for sewing after dyeing. We always have a large variety of threads of different yarn counts and different colours.
9. 製衣用弧形尺 收到的禮物。由於我們現在都是用電腦繪圖，最近沒有使用。
15. 剪刀 常備衣車附近。剪線用。
9. Turnip scale for dressmaking A gift from somebody. It is not used these days as we draw patterns on our PC.
15. Scissors Always kept next to the sewing machine. For cutting thread.
10. 牛仔褲紙樣 Lot. 810用的紙樣。為了方便畫線和加強耐用度而將紙樣貼在紙板上。
16. 靛藍染色線 牛仔褲用的衣車線。於工房內染色，lot. 810與 lot. 1194是100% 苧麻、lot. 819是100%綿。
10. Jeans patterns The stencil for Lot. 810. To draw lines conveniently and to enhance durability, it is pasted on cardboard.
16. Indigo stem dyed thread Sewing machine thread for jeans. Lot. 810 and lot.1194 are 100% ramie, Lot. 819 is 100% cotton.
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25. Platform for hammering Used to hammer copper rivets onto jeans and tote bags, and to produce a domed head. 26. 打孔鉗 自美國購買衣車時附送的工具。現在沒有用途。
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25. 手打台墊 給牛仔褲或手提袋打銅鉚釘，以及鎚打凸出部分時用。
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to produce a domed head.
26. Punch A tool which came with a sewing machine purchased from the US. Not currently used. 27. 鎚 給牛仔褲或手提袋打銅鉚釘，以及鎚打凸出部分時用。
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17. 軟尺 用來量度身體和成品各部分的尺寸。 17. Tape major Used to take body and product measurements. 18. 曲線板 自美國購買衣車時附送的工具。現在沒有用途。 18. French curve A tool came together with the sewing machine purchased from the US. Currently it has no use. 19. 配重 在牛仔布料上按紙樣畫線時用。 19. Weight Used for drawing stencil lines on denim fabric. 20. 手動壓力機 用來在牛仔褲上打銅鉚釘或鈕扣等的工具。 20. Manual Punch A tool used to press copper rivets and buttons onto jeans.
21 to 23 . Rivet Copper rivets and iron buttons. Custom-made products without post-production treatment so that it will rust. 24. 鉚釘沖頭 給牛仔褲或手提袋打銅鉚釘，以及鎚打凸出部分時用。 24. Setter for hammering Used to hammer copper rivets onto jeans and tote bags, and
28. 打孔鉗 自美國購買衣車時附送的工具。現在沒有用途。 28. Punch A tool which came with a sewing machine purchased from the US. Not currently used. 29. 拔毛鉗 用來為衣車穿線或進行細微工序。 29. Twizzers Used for threading sewing machine needles and for delicate tasks. 30 至 31. 剪刀 常備衣車附近。剪線用。
36 to 39. Hemp bracelet box materials before assembly. 40. 廢料 《百色幟》的布碎。使用不受染料影響的特殊用筆寫有色彩編號。 40. Scraps Scraps of Banners in Banners in 100 Indigo Shades. Numbers of colours are written with a special pen that is unaffected by the dyes. 41. 紙張粘結劑 41. Bond for paper 42. 裁縫剪刀 日本手巾一類軟布專用的剪刀。 42. Sewing scissors Scissors for soft fabrics such as tenugui. 43. 麻手鍊盒 43. Hemp bracelet box 44 及 51 布碎 完成製作手拭後剩下的布碎。儲起來循環再用。 44 & 51. Rags Scraps of cloth left after making tenugui. Kept and then reused. 45. 花 將藍草花用繩索綁到香木上的神秘物件。 45. Flower A mysterious object made of an indigo flower attached to a piece of fine-smelling wood with a string.
30 to 31. Scissors Always kept next to the sewing machine. For cutting thread.
46. 屋久木珠手鍊及盒子
32. 螺絲刀 衣車用。
47. 金屬絲 把木粒連起來時用剩的金屬絲。儲起來交給回收商。
32. Driver Used for sewing machines.
47. Metallic thread Scraps of wire once used to hold wooden beads together. Kept and then sent to scrap-metal dealers.
33. 裁縫用鉛筆 白色筆是專門用於染色後的布上。 33. Tailor pencil White pencils used on dyed cloth. 34. 折線用的小鏟 34. A spatula for folding lines 35. 𠝹刀 35. Cutter
46. Yakusugi bead bracelet and box
48. 麻手鍊盒蓋 48. Hemp bracelet box cover 49. 紙盒 49. Paper box 50. 矽膠墊 50. Silicon mat
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21 至 23. 鉚釘 銅製鉚釘和鐵製鈕扣。沒有進行防鏽加工的特製品。
27. Hammer Experimental sample for pipe-wrapped tie-dyeing.
36 至 39. 組裝麻手鍊盒用的物料
《纏結麻繩圖案型染暖簾》 2022 染色苧麻 250 x 1170厘米 型染的做法是把糯米製成的防染糊塗在紙模板上，再把布放入染缸 浸泡，然後用水沖掉米糊，這種做法可利用模板重複印染相同圖 案。BUAISOU每位團員都製作了專屬自己的模板，其餘工序合力製
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作。這種常見的圖案是向古代繩紋時代陶器的捲繩設計致敬。
Tangled Ramie Rope Pattern Noren 2022 Dyed ramie 250 x 1170 cm Kata-zome stencil dyeing daubs katanori (glutinous rice paste) resist onto katagami (cut paper stencils). Then, after immersion in the indigo vat, the rice paste is rinsed off with water. The stencil allows the making of continuous repeating patterns. BUAISOU members cut their own stencils and the whole team works together to perform the other related processes from applying resist to rinsing the finished cloth. This common everyday braided rope pattern pays respect to the rolled rope designs of ancient Jomon earthenware.
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《斜紋靛藍繩索》 2022 染色繩索 用來製作牛仔褲的布料是一種斜紋布，由白色緯紗和靛藍經紗交織編成。 有趣的是，棉紗其實不能完全吸收靛藍染料，因此只有紗線的表面染成藍 色，而紗線的芯部則保持白色。BUAISOU為繩子染色時亦出現相同情況， 因為繩子跟紗線同樣是捻紡出來的。參觀者受邀使用繩子來編織斜紋布， 認識綾織結構。
Twilling Indigo Dyed Ropes 2022 Dyed ropes Denim fabric used for making jeans is a twill weave with white warp yarn and indigo dyed weft. Strangely, cotton yarn does not fully absorb indigo dye, thus only the yarn surface is dyed, with the yarn core remaining white. The same reaction occurs when
as yarn - spinning. Visitors are invited to weave twill with ropes to understand the weaving structure physically.
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BUAISOU dyes ropes, because rope is made by the same technique
獨一無二的古着 這個展廳的多媒體裝置以視聽方式呈現BUAISOU的工人服裝漸漸變成古 着的過程，亦展出BUAISOU團成員穿得磨損的舊衣。 BUAISOU的藍染製作常需配合天氣變化和氣候條件作出應對，在夏季蓼 藍農田的蟲鳴聲中、早晨鳥兒的啼叫聲中，工作室的流水聲中，他們每位 都鍥而不捨地追求靛藍之美。所展出的古着工人服裝可算是一份存檔，紀 錄了多件天然藍染作品的痕跡，亦可以是一份存照，記載着各個成員的身 體動作習慣。
One of a Kind Vintage The multi-media installation in this gallery presents how BUAISOU’s work wear becomes vintage through audio and visual media, and the display of BUAISOU members’ clothing. Most of BUAISOU’s indigo processes require working with changeable weather and reacting to unexpected climate conditions. Surrounded by insect sounds in the summer indigo fields, birds chirping in the morning, and the rush of running water in the 58 | ABSOLUTE BLUE 58 | ABSOLUTE BLUE
studio, BUAISOU’s members work tirelessly to pursue absolute blue. The vintage workwear exhibited can be viewed as archival, documenting the traces of multiple tasks involving natural indigo. The garments are also portraits recording the habitual body movement of individual members.
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楮 覚郎 Kaji Kakuo
石田 宏武 Ishida Hiromu
西本 京子 Nishimoto Kyoko
小園 忠 Kozono Tadashi
大須 賀一真 Osuka Kazuma
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結城 研 Yūki Ken
藝術家簡介 Artist Profile
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BUAISOU簡介 BUAISOU團隊於2015年成立，扎根於以傳統日本藍染聞名的德島上 板町，從種植蓼藍、製作染料「蒅」至染色，實踐多種日本天然藍染 方法；他們的染品不限於紗線和布料，亦有材質堅硬的家具。最近， 他們開設為工人而生的原創時裝系列，自家生產牛仔褲及短袖恤衫等 衣物 。
Profile of BUAISOU BUAISOU was founded in 2015 in Kamiita-cho, Tokushima prefecture, a place known for traditional Japanese indigo
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dye. From farming tade-ai (Japanese natural indigo), to fermenting sukumo (dye) and dyeing, BUAISOU have conducted diverse practices using Japanese natural indigo dye, dyeing not only yarn and fabric but also furniture with hard materials. Recently they started making their original workers’ clothing line including jeans and T-shirts with an all in-house production. 圖片提供：BUAISOU； 攝影：西本京子 Image courtesy: BUAISOU; Photo: Nishimoto Kyoko
BUAISOU的藍染全風貌 BUAISOU’S TOTAL MOOD OF INDIGO 須藤玲子 展覽聯合策展人 SUDO REIKO CO-CURATOR OF THE EXHIBITION
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CHAT六廠與BUAISOU連線 BUAISOU是個不斷追求創新的團體，此次「青出於藍」展覽作為他們首 個大型藝術展覽，他們決定在香港現場複製其德島藍染工作室，稍為加了 一點協調，以助加深觀眾的欣賞。他們共用了850餘件工具和用品，包括 棚架、工作桌、滑輪升降的染布機件、成員的個人工具、從一家美國牛仔 褲製造商得來的縫紉機、染缸狀態日誌筆記本、沖洗用的廢棄浴缸——幾 乎所有設備都是手工製作，或是從當地材料店、從友善的木匠、水管工、 道路修理員或伐木工人收集回來的物品改裝。他們說自己的作品是手工製 作，那就真的是手工製作。初次觀看的訪客必會驚嘆於他們的巧思，而 BUAISOU愛好者則會更加欣喜。 藝術家視畫布為作畫的基底材料，但BUAISOU則需按畫布本身的特定條 件和可能性來創作，接受布料的彈性、懸垂、折疊、皺褶和裂縫，以及其 透光與重量、其超越純粹實用的本質。他們每個人也喜歡布料所展現的不 同外觀，亦享受搓弄布料。他們不只染布，亦為每塊布料佐以最匹配的靛 藍染料，盡顯能事。
傳統上，日本織布以寬度38厘米和45厘米為準，適合用來製作和服，或 是作為戶外的旗幟、橫幅和區間簾布，常見於寺廟和神社的儀式和慶典。 靛藍染缸只能是這個深淺，以便處理窄封布料。當要製作面積較大的織物
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時，他們只需把幾塊布料邊拼邊的縫在一起，就可組成一幅乾淨利落的飾 面。 在技術方面，他們沿用古老的方法，例如所謂的「三纈」，即日本天平年 間的三種染技──蠟染（﨟纈）、夾染（夾纈）、紮染（纐纈），奈良正 倉院保存的紡織珍品亦可看到；或是耗力的型染（模版染技）。他們選擇
的染色方法耗時費力，但其精妙成品證明一切值 得。他們的設計極富動 感，從遠處看已相當顯眼，或是套用一句經典說法：旗幟鮮明。 4款日式門簾尤其引人注目：模糊蠟染暖簾、繩狀筒巻紮染暖簾、纏結麻 繩圖案型染暖簾、草木圖案暖簾。具節奏感的繩索圖案紮染讓人聯想起史 前時代的繩紋陶器；手刷蠟染圖案盡顯其扎實應用和手工技藝；動態的扭 繩圖案型染和透過反複試驗而重現的夾板圖案——4件作品均由BUAISOU 創辦人楮覺郎為這次展覽特別構思、佈置和繪製，其他成員亦參與了實際 製作的每個步驟，真正體現BUAISOU的團隊精神。
楮覺郎的牛仔褲拼接 楮覺郎在高中時首次被藍染吸引，就是因為「復古牛仔褲看起來很有型」。 最重要的是，堅韌牛仔工作服在功能上的美感、腰帶調整後收緊的腰身、 手工縫製的棕白穿線，均令楮覺郎讚歎不已。因為渴望學習藍染，他考入 東京造形大學的紡織研究課程，認真投入關於紡織材料、編織結構和織物 歷史的常規課程。在學習植物染色時，他實在非常喜愛藍染，於是畢業後 立即前往四國東部的德島，一個史上著名的蓼藍種植區。他定居於吉野河 谷，師從當地一位藍靛師傅，學習從種植蓼藍、製作「蒅」染料到準備 染缸的所有基礎知識，之後於2015年成立了自己的BUAISOU工作室。最 初，他的夢想是自己種蓼藍、自己製染料、自己染紗線、自己織牛仔布、 製作出自己做藍染時穿的牛仔褲；後來在2018年，他終於實現了自己少 年時代的夢想，剪下牛仔褲形狀的模板，把牛仔布剪成牛仔褲的尺寸，將 布料縫紉鉚接，更附以腰扣設計、手工剪裁的鈕孔和版本序列號碼。他這 條「非理論式」牛仔褲不會出現在其他時尚精品店，只在自家BUAISOU 稍為隱閉的工作室商店發售。 現在這個展覽，把鍾愛牛仔褲的楮覺郎和他的BUAISOU帶到荃灣──這 個曾因1970年代紡織牛仔布而奠定香港製衣業成就的紡織之鎮，乍看之 下純屬偶然，卻可說是命運使然的一種緣份。
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CHAT-ting with Buaisou This Absolute Blue exhibition was the ever-innovative BUAISOU’s first attempt at a major art installation, so they decided to replicate their Tokushima indigo studio on-site in Hong Kong, with some added concessions to help deepen exhibition visitors’ appreciation. They used about 850 tools and utensils, including shelves, work tables, pulley-raised dyeing gadgetry, members’ own personal implements, sewing machines obtained from an American jeans manufacturer, notebooks for keeping daily logs of indigo dye conditions, a discarded bathtup for rinsing — almost all the equipment being handmade or modified from items found at local DIY shops or obtained from friendly carpenters, plumbers, road workers or lumberjacks. When they say their work is hand-crafted, they really mean it. Those new to the collective’s work will be amazed at their ingenuity, while existing BUAISOU fans are guaranteed be even more delighted. Whereas artists paint on canvas simply as a substrate, BUAISOU work with the very qualitative conditions and possibilities of canvas itself, embracing how it stretches, drapes, folds, wrinkles and tears; harnessing its translucence and heft, its essence beyond mere utility.
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Everyone in the collective loves the many ways canvas can look and relishes playing with it. They don’t just dye cloth; they harmonise each piece of fabric with its optimum complement of indigo, taking expression to the next level.
Traditionally, Japanese fabrics were woven in narrow 38cm and 45cm widths suitable for making kimonos. Or again, fabrics have
been used outdoors as hata-sashimono, banners and area curtains for rituals and celebrations at temples and shrines. Indigo vats can only be so deep, making it easier to work with smaller narrow-widths. For larger works, smaller pieces are simply seamed together selvedge-to-selvedge for a cleaner finish. In terms of technique, the collective use ancient methods such as the so-called san-kechi ‘three resists of the Tempyō-era’ — rōkechi wax-drawing, kyōkechi board-clamping and kōkechi tie-dyeing — seen in textile treasures preserved at the Shōsōin Imperial Repository in Nara or in the laborious kata-zome stencil dyeing. The chosen methods of dyeing require considerable time and back-breaking effort, but the proof is in the exquisitely finished pieces. Dynamic designs that stand out even from a distance — or in classical parlance, kishoku senmei ‘flag-bright’. 4 noren doorway curtains on display are of particular note: the Blurred Wax Resist Dyed Noren, Rope Cylinder Tied Pattern Noren, Tangled Ramie Rope Pattern Noren, and Tree and Plant Pattern Noren. Rhythmic rope tie-dyed patterns are reminiscent of prehistoric Jōmon earthenware. Hand-brushed wax resist patterns evidencing controlled application and manual skill, dynamic twisted rope stencil-dyed patterns, and board-clamped patterns revived by trial and error - all 4 were conceived, laid-out and drawn by BUAISOU founder Kakuo Kaji especially for this exhibition, though all members of the crew joined at every step of the actual production. Truly BUAISOU teamwork.
Jeans-Splicing Kakuo Kaji Kaji was first attracted to indigo dyeing in high school because ‘Vintage jeans looked so cool.’ More than anything, it was the functional beauty of robust denim work wear, with belt-adjusted
While it might seem pure serendipity that brings jeans-loving Kaji’s BUAISOU to Tsuen Wan where denim manufacturing in the 1970s made Hong Kong’s clothing industry what it is today, one could say it was an affinity dyed in fate.
back-cinched waists and artisanally stitched tan and white threads that garnered Kaji’s admiration. Eager to learn indigo dyeing, he entered Tokyo Zokei University’s Textile Studies Programme, where he earnestly applied himself to the standard curriculum on textile materials, weave structures and fabric history. While studying vegetable dyeing, he really took to indigo, so immediately upon graduation he headed for Tokushima on the eastern side of the island of Shikoku, historically famous as an indigo growing region. There he settled in the Yoshino River valley and apprenticed under a local ai-shi indigo master, learning all the basics from planting to preparing sukumo lye-indigo dye baths. Then in 2015 he set up his own BUAISOU studio. Initially, Kaji’s dream was to cultivate his own indigo plants, make his own dyestuff, dye his own yarns, weave his own denim and make jeans that he could wear while indigo dyeing. And finally in 2018, he made good on his teenage dream by cutting a jeans-shaped stencil, cutting his denim to that jeans size, then sewing and
a serial number. Kaji’s ‘non-doctrinaire’ jeans are not available in any fashion boutique though, only being sold at his own BUAISOU ‘unsociable’ studio shop.
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riveting it together with a cinched back, hand-cut buttonholes and
BUAISOU的極致之藍從何而來？ WHERE DOES BUAISOU’S ABSOLUTE BLUE COME FROM? 高橋瑞木 CHAT六廠執行董事及首席策展人
68 | ABSOLUTE BLUE
TAKAHASHI MIZUKI EXECUTIVE DIRECTOR AND CHIEF CURATOR, CHAT
為何選擇BUAISOU？ 日本自古以來一直培育天然藍染技藝，按照列島各地的氣候與土壤，北 至北海道，南至沖繩，發展成各種染布技術。「阿波藍」源自德島縣（即 BUAISOU所在之地），在16世紀當地領主蜂須賀家政的推動和保護之下， 其超卓品質在日本各地廣受推崇。製作阿波藍會用到一種名為「蒅」的天 然染料，由蓼藍的乾葉發酵4個月以上而成。
去年十月，CHAT六廠籌辦了BUAISOU的個展──BUAISOU是一個具開 創性的藍染團體，以日本四國為基地，有5位工匠成員。是次展覽「青出 於藍：BUAISOU之日本天然藍染工作」展示了他們別樹一格的新作，呈 現其大膽的構思和細緻的色階，更以大型裝置設計重現他們的整個工作流 程，從種植蓼藍、發酵染料以至染藝創作，全都活現觀眾眼前。
年在協力隊的任期結束後，他把BUAISOU註冊為正式業務。雖然楮覺郎 創立BUAISOU並非意圖挑戰當地經營家業的工匠，但一個毫無地區背景 或人脈的新來者，要在當地傳統工藝世界創立一個工作室，委實不易。
儘管如此，BUAISOU依然為日本天然藍染的知識傳播作出了獨特貢獻， 包括推動海外的天然日本藍染工作坊，以及用自己染色的線和布料製作工 作服，例如牛仔褲和藍染T恤，這種做法使他們有別於傳統的日本天然藍 染作坊，别具一格。此外，BUAISOU更與產品設計師以至環球高級時裝 品牌合作，不斷挑戰自我，在新穎材料和創新技術上推進藍染技法。
繩紋圖案作為象徵，表達BUAISOU對勞動和日本傳統的欣賞 BUAISOU的獨樹一幟，不僅在於他們的生產線和跨界合作，亦呈現於其 原創產品的平面設計上。 （2）繩紋圖案是他們的一大特色，在其原創藍染
我們在策劃日本天然藍染展覽時，選擇了BUAISOU這個成立不到10年的
作品經常採用。為本次展覽製作的4幅暖簾中，其中兩幅分別以絞染技術
年輕工匠團隊，而非選擇世代傳承的藍染工匠和作坊，那是因為BUAISOU
和型染技術展示了繩紋圖案。
的創意和活動，體現了一種超越傳統工藝和家族事業固有框架的自由感， 因而為傳統工藝領域帶來別開生面和具建設性的想法，而這些領域偶爾會
繩紋的起源說法各異，但最近研究人員在法國一個據信是5萬年前尼安德
帶有排他性。 （1）
特人的居處發現了繩索碎片。 （3）繩索不僅用於狩獵、包裝和運輸等實際用 途，亦用於藝術創作。日本的繩紋時代於西元前14,000年左右開始，當時
楮覺郎是BUAISOU的其中一位創辦人，來自青森縣，距離德島縣相距極
的工匠會用繩索在陶器表面製作圖案；時至今日，「注連繩」的習俗依然
遠。他在東京的藝術學院研讀天然染色和紡織，而他本身的家業與紡織毫
流傳，以繩圈圍繞岩石、樹木和神社入口，以標示聖域的結界。
協力隊」，該區曾是天然靛藍的生產重鎮，而加入協力隊能讓他學習從種
當被問及作品頻繁出現繩紋圖案時，BUAISOU雖沒給出明確答案，但我
植蓼藍、製作染料以至染布工藝的種種知識，於是他在2012年移居德島，
認為他們的繩紋圖案主題乃基於以下緣由：首先，繩紋能喚起日本原始
並於2014年與在協力隊認識的夥伴一同開展BUAISOU的活動。到了2015
的本土文化和習俗；此外，繩索在BUAISOU的工作室隨處可見，用於捆
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不相干。於藝術學院畢業後，他發現了德島縣板野郡上板町的「地域振興
紮包裝、線和織物；最後，製作牛仔褲布料時，通常會採用一種稱為「繩 染」的工法，即把經線紮成一梱進行染色。 （4） 然而，BUAISOU在設計繩紋圖案時，會刻意不去複製傳統的日本圖案。
註釋 1. 西本京子是BUAISOU唯一來自德島縣的成員，她對日本傳統工藝世界有以下看法：「傳統 工藝一般被認為是忠實再現自古實行的技法，然而這些技法其實已經傳承了幾百年甚至幾千
他們的絞染繩紋圖案具有類似電腦繪圖般的線條，而型染繩紋圖案則展
年，並在過程中不斷進化。在我看來，今天許多被貼上『傳統』標籤的工藝品，主要都是以教
示了錯綜複雜的纏繞繩索，形成有機生動的圖案。這些設計既保留了傳
科書般的方式，沿用江戶時代流傳至昭和年代的手法。」（https://forbesjapan.com/arti-
統日本圖案的味道，卻又具有明顯的現代感，帶來前所未見的風格。透過
cles/detail/60330 ）
BUAISOU的作品，我們看到他們的做法明顯不僅只為保存傳統工藝，而
2. 傳統上，日本天然藍染的各個工序，分別由不同的專職工匠負責主理。種植蓼藍和生產「蒅」
是充份利用傳統材料和技術，製作出超卓的天然藍染產品，同時力求與現
的工作，傳統上由「藍師」負責。另外亦曾有「水師」這個職業，負責往蓼藍乾葉加入適量水份
代的觀眾交流對話。（5）這種態度，令他們的活動和創作超越了傳統工 藝圈子的既有界限，吸引了日本以外的創作者和不同人士的興趣。
促成發酵；之後，往「蒅」加水和鹼液來製作染料以及染布程序的工作，就落到「染師」身上。 3. BBC新聞：〈在法國尼安德特人遺址發現5萬年前的繩子〉，2020年，https://www.bbc. com/news/world-europe-52267383 2020年4月10日讀取。
以汗水和時間煉成的極致之藍 BUAISOU與其他天然藍染工坊的不同之處，在於他們生產原創工作服， 尤其是牛仔褲。雖然亦有其他日本品牌以天然藍染紗線織成的牛仔布來生 產牛仔褲，然而像BUAISOU般會種植蓼藍來生產自家製的牛仔褲，卻是 前所未有。BUAISOU的原創牛仔褲以1870年代的早期牛仔褲為藍本， 設計源自美國金礦礦工的工作服，褲型經過改良後，適合BUAISOU成員 種植蓼藍和染布時的動作要求，例如他們在田間工作或染布時需要經常蹲 下，因此牛仔褲在臀部和大腿均有額外空間，令人蹲下時亦舒適自如。
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BUAISOU的所有工序均自給自足，以自家種植的蓼藍製成染料，用藍染 紗線和布料製作成工作服。團隊成員每天穿著自己染色的藍染衣服，洗了 又洗，逐漸把衣物融為身體的一部份。我們大部份人身穿的服裝，大多是 購自商店而非自己製作，但BUAISOU的成員從零開始製作的工作服，卻 持續展露天然藍染之美的各種新貌，即使衣物已經破舊磨損。這種獨有的 極致之藍，只能歷經勞動方能煉成，乃人與工藝之間深刻聯繫的明證。
4.「繩染」是製作牛仔褲布料的常用技術，能令染料均勻分佈在紗線上，而且非常高效，因此 廣受業界採用。 5. 西本說：「BUAISOU的代表兼藍染大師楮覺郎，並不認為自己背負著傳統工藝的責任，而 是懷著超越昔日工匠的純粹願望來創作，認真挑戰前人留下的工藝技法。」（https://forbesjapan.com/articles/detail/60330）
Why BUAISOU?
and activities embody a sense of freedom that transcends
Throughout history, Japan has cultivated natural indigo dyeing
the conventional frameworks of traditional crafts and family
techniques tailored to its diverse climates and soils, spanning from
businesses. Consequently, their approach provides a refreshing
the northern region of Hokkaido to the southern islands of Okinawa.
constructive critique within the realm of traditional craftsmanship,
Awa Ai indigo in particular, originating in Tokushima Prefecture,
which can occasionally lean towards exclusivity. (1)
where BUAISOU is based, garnered significant acclaim for its superior quality across Japan as it was promoted and conserved
Kaji Kakuo, one of BUAISOU’s founding members, was originally
by the 16th-century feudal lord Hachisuka Iemasa. Awa Ai involves
from Aomori Prefecture, far from Tokushima, and came to Tokyo
the use of a natural dye called sukumo, which is produced by
to study natural dyeing and textiles at art college. His family’s
composting for more than 4 months the leaves of the dried Tadeai
business had no connection to textiles. Upon graduating from
(Persicaria tinctorial).
college, Kaji discovered that by joining the Chiiki Okoshi Kyoryoku Tai (Community Revitalisation Cooperation Squad) in Kamita
However, with the advent of chemical indigo in the 19th century,
Town, Itano District in Tokushima Prefecture, once a thriving
the labour-intensive cultivation and production of natural indigo
centre for natural indigo production, he could learn everything
dyes, sukumo included, fell out of favour, and was supplanted by
from natural indigo cultivation to sukumo production and dyeing.
more convenient synthetic alternatives. Consequently, the number of
Kaji relocated to Tokushima in 2012. In 2014, Kaji and his fellows,
indigo artisans using sukumo has diminished significantly. Currently,
whom he had met while serving in Kamita, formed BUAISOU, and
the practice of manual dyeing using natural indigo is championed
in 2015, after their Chiiki Okoshi Kyoryoku Tai contract ended,
by a few artists and workshops, many of whom perpetuate the
BUAISOU was incorporated as an official business. Though Kaji
tradition through successive generations, preserving this venerable
had not established BUAISOU to compete with local artisans
craft, in Tokushima Prefecture and beyond.
running family businesses, setting up a workshop as a newcomer with no ties or connections to the region was no easy feat in the world of local traditional crafts.
chose to focus on BUAISOU, a relatively young workshop, established less than a decade ago, rather than indigo dye artisans and
Nonetheless, BUAISOU has uniquely contributed to the dissemination
workshops that have passed down their traditional techniques
of knowledge on natural Japanese indigo by facilitating work-
through generations. It is because BUAISOU’s creative idea
shops outside of Japan, and by producing workwear such as jeans
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In planning an exhibition on Japanese natural indigo dye, we
and indigo-dyed T-shirts crafted from their own dyed threads and
Upon inquiring about the frequent appearance of rope patterns in
fabrics. This approach differentiates it from conventional Japanese
BUAISOU’s works, no definitive answer was forthcoming. However,
natural indigo dye workshops. Furthermore, by collaborating with
I assume BUAISOU’s use of rope motif is related to several facts;
product designers and global high-fashion brands, BUAISOU
firstly, the rope serves as a motif evoking Japan’s indigenous culture
continually challenges itself to push its indigo dyeing to novel
and customs. Additionally, ropes can be found throughout BUAISOU’s
materials and innovative techniques.
workshop, used for bundling packaging, threads, and fabrics. Lastly, when creating denim for jeans, a technique called ‘rope dyeing’,
Rope Pattern as a Symbol of BUAISOU’s appreciation of Labour
where the warp threads are bundled and dyed in a thick rope-like
and Japanese Tradition
formation, is generally employed. (4)
The uniqueness of BUAISOU lies not only in its line production and collaborations but also in the graphic design of its original
However, BUAISOU deliberately avoids replicating traditional Japanese
products. (2) One distinctive feature is the rope pattern, which
patterns in its rope designs. The Shibori rope pattern features line
BUAISOU often incorporates when creating its original indigo dyeing
drawings similar to computer graphics, while the Katazome rope
pieces. Of the 4 noren curtains created for this exhibition, two,
pattern showcases intricately intertwined ropes forming organic motifs.
made using the Shibori and Katazome dyeing techniques, feature
These designs retain a flavour of traditional Japanese patterns,
the rope pattern.
yet are distinctly contemporary and unlike anything seen before.
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Through BUAISOU’s works, it becomes evident that its approach There are various versions of the origin of rope, but recent discoveries
goes beyond merely preserving traditional crafts. Instead, BUAISOU
in France have unearthed fragments of rope at a site believed
uses traditional materials and techniques to produce high-quality
to have been inhabited by Neanderthals 50,000 years ago. (3)
natural indigo-dyed products while striving to communicate with
Ropes were used not only for practical purposes such as hunting,
modern audiences. (5) This attitude allows its activities and
packing, and transport but also for artistic ends. In Japan, during the
creations to transcend conventional boundaries within traditional
Jomon period, which began around 14,000 BCE, ropes were used to
craft communities and capture the interest of various creators and
create patterns on the surface of pottery, and the custom of hanging
individuals outside of Japan.
Shimenawa ropes around rocks, trees, and gates of shrines to indicate sacred spaces still exists today.
Absolute Blue out of Sweat and Time
Notes
One aspect that sets BUAISOU apart from other natural indigo
1. Nishimoto Kyoko, the only member of BUAISOU hailing from Tokushima Prefecture,
dyeing studios is its production of original workwear, particularly jeans. Although there are other Japanese brands that produce jeans using denim woven from naturally dyed indigo threads, none of them cultivate indigo and produce jeans in-house as BUAISOU does. BUAISOU’s original jeans are patterned after early jeans from the 1870s, originally designed as workwear for goldminers in the US. However, the silhouette has been adapted to suit the movement requirements of BUAISOU’s indigo cultivation and dyeing processes. For instance, workers often have to crouch while working in the fields or dyeing, so the jeans are designed to have extra room around the buttocks and thighs, allowing for a comfortable squatting posture.
claims the following perspective on the world of traditional crafts in Japan: “Commonly, traditional crafts are perceived as faithfully reproducing techniques that have been used since antiquity. However, these techniques have in fact been passed down through centuries or even millennia, evolving along the way. In my opinion, many crafts labelled as ‘traditional’ today predominantly adhere to techniques originating from the Edo Period through to the Showa Era in a textbook-like manner.” https:// forbesjapan.com/articles/detail/60330 2. Traditionally the process of Japanese natural Indigo has been handled by different professionals. The cultivation of Tade-Ai, and the production of Sukumo were traditionally performed by indigo masters, or Ai-Shi. There once existed a profession called Mizu-Shi, who were responsible for adding the appropriate amount of water to the dried indigo to facilitate fermentation. Subsequently, the roles of adding water and lye to the Sukumo to create the dye liquid and carrying out the dyeing process fell to the dye masters, or Some-Shi. 3. BBC News. (2020) 50,000-year-old string found at France Neanderthal site. Available at: https://www.bbc.com/news/world-europe-52267383 (Accessed: 10 Apr 2020).
At BUAISOU, self-sufficiency is practised by creating workwear from the yarns and fabrics dyed with indigo that the studio cultivates itself. Team members wear their self-dyed indigo clothing every day, washing and rewashing them, gradually integrating the garments as a part of their bodies. For many of us, clothing has long been something we buy in shops rather than make ourselves. However, the workwear made from scratch by BUAISOU members continues
4. Rope dyeing is a commonly used technique in the production of denim for jeans. This method offers an even dye distribution on the yarn and is highly efficient, which is why it is widely adopted throughout the industry. 5. Nishimoto says, ‘Kaji Kakuo, the representative of BUAISOU and a master of indigo dyeing, does not feel burdened by the responsibility of traditional craftsmanship. Instead, he approaches his work with a pure-hearted desire to surpass the craftsmanship of his predecessors, genuinely challenging the legacy of those who came before him.’ https://forbesjapan.com/articles/detail/60330
to reveal new facets of natural indigo’s beauty, even when well-worn.
labour, serving as a testament to the profound connection between people and their craft.
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This unique absolute blue can only be obtained through human
74 | ABSOLUTE BLUE
團隊名單
Staff Credits
CHAT 六廠團隊 (截至2022年10月29日） 高橋瑞木
執行董事及首席策展人
鄒詠婷
財務助理經理
溫志堅
營運經理
曾曉彤
訪客服務主管
王慰慰
展覽及館藏策展人
馮卓童
訪客服務專員
陳信騫
展覽及館藏策展助理
潘嘉俊
訪客服務專員
麥巧琳
展覽及館藏策展助理
楊狄恩
訪客服務專員（合約）
李勺言
共學助理策展人
梁小鳳
訪客服務專員（合約）
羅璧如
共學及社區助理策展人
梁頌霖
共學及社區策展助理
品牌及傳訊團隊
胡敏儀
策展項目管理總監
蘇綽玲
品牌及傳訊總監
梁輝文
策展項目管理經理
李暘
品牌及傳訊助理經理
謝詠琳
館藏管理專員
羅港俊
傳訊高級主任（數碼媒體）
陳朗晴
項目專員(香港文化)（合約）
黃曉恩
傳訊高級主任
文永亮
創意及營運助理經理
林泳欣
創意及營運助理經理（平面設計）
夥伴及發展團隊
春山正
創意及營運高級主任（數碼媒體）
李家焯
國際夥伴、發展及項目管理總監
郭穎淘
創意及營運高級主任
麥紫琴
夥伴及發展經理
吳啟峰
創意及營運助理技術員（合約）
Paola Sinisterra
紡織項目專員（合約）
展覽製作技術員
黃昭穎
紡織項目主任
蔡詠茱
麥泳恩
紡織項目助理主任（合約）
葉政宏
郭杏蓮
車衣隊
黃慧心
策展團隊
邱永亮 管理及營運團隊 營運及財務高級總監
李盈慧
高級行政秘書及特別項目
袁建暉
行政助理主任
林秀蘭
行政助理主任
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趙子珉
CHAT Crew (as of 29 Oct 2022) Takahashi Mizuki
Executive Director and Chief Curator
Curatorial Team
Chiu Tsz Man
Senior Director, Operations and Finance
Stephanie Li
Senior Executive Secretary and Special Projects
Wang Weiwei
Curator, Exhibitions and Collections
Leo Yuen
Assistant Officer, Administration
David Chan
Curatorial Assistant, Exhibitions and Collections
Varia Lam
Assistant Officer, Administration
Megan Mak
Curatorial Assistant, Exhibitions and Collections
Ida Chow
Assistant Manager, Finance
Bruce Li
Assistant Curator, Learning
Dominic Wan
Manager, Operations
Eugenia Law
Assistant Curator, Learning and Community
Cloris Tsang
Supervisor, Visitor Experience
Leung Chung Lam
Curatorial Assistant, Learning and Community
Kimmy Fung
Associate, Visitor Experience
Wendy Wo
Director, Curatorial Programme Management
Sam Pun
Associate, Visitor Experience
Raymond Leung
Manager, Curatorial Programme Management
Yeung Tik Yan
Associate, Visitor Experience (Contract)
Maggie Tse
Registrar
Ellie Leong
Associate, Visitor Experience (Contract)
Sunnie Chan
Programme Associate (Hong Kong Culture) (Contract)
Branding and Communications Team
Assistant Manager, Creative Production and
Zon So
Director, Branding and Communications
Operations
Ella Li
Assistant Manager, Branding & Communications
Willis Lam
Assistant Manager, Creative Production and
Felix Lo
Senior Officer, Communications (Digital Media)
Operations (Graphic Design)
Grace Wong
Senior Officer, Communications
Haruyama Masashi
Senior Officer, Creative Production and
Dennis Man
Operations (Digital Media)
Partnership and Development Team
Joyce Kwok
Senior Officer, Creative Production and Operations
Aidan Li
Ng Kai Fung
Technical Assistant, Creative Production and Operations (Contract)
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Management and Operations Team
Director, International Partnership, Development and Programme Management
Mak Tsz Kam
Manager, Partnership and Development
Paola Sinisterra
Textile Specialist (Contract)
Gabrielle Wong
Officer, Textile Programmes
Exhibition Production Technicians
Nicole Mak
Assistant Officer, Textile Programme (Contract)
Choi Wing Chu Belinda
Kwok Hang Lin
Sewing Team
Nakamura Masahiro Wong Winsome Dumalagan Yau Wing Leung Thomas
數碼圖錄 Digital Catalogue 編輯 Editor 高橋瑞木 Takahashi Mizuki 文字編輯 Copyeditors Oliver Farry P. 63-73 麥巧琳 Megan Mak 胡敏儀 Wendy Wo 設計 Design 春山正 Haruyama Masashi 撰稿 Contributor 高橋瑞木 Takahashi Mizuki P. 4-5, 68-73 須藤玲子 Sudo Reiko P. 63-67 中文翻譯 Chinese Translation 魏家欣 Luna Ngai P. 63-73 攝影 Photograph Chris Lusher 文永亮 Dennis Man P. 60 影片攝製 Videographer 川口泰吾 Kawaguchi Taigo
Exhibition Documentary Production 羅港俊 Felix Lo Cstand Production
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展覽紀錄編輯
Absolute Blue: BUAISOU Works with Japanese Natural Indigo 青出於藍：BUAISOU之日本天然藍染工作 BUAISOU ：石田 宏武、楮 覚郎 、小園 忠 、西本 京子 、大須 賀一真 、 結城 研 聯合策展人：須藤玲子、高橋瑞木 展覽設計：田代昌史 多媒體設計：Twelve Inc.（京都） 影片攝製：川口泰吾 錄音：原 勇樹
Absolute Blue: BUAISOU Works with Japanese Natural Indigo BUAISOU ： Ishida Hiromu, Kaji Kakuo, Kozono Tadashi, Nishimoto Kyoko, Osuka Kazuma, Yūki Ken Co-Curator : Sudō Reiko and Takahashi Mizuki Exhibition Design : Tashiro Masafumi Multimedia Design : Twelve Inc., Kyoto Videographer : Kawaguchi Taigo Sound Recording : Hara Yūki
按此瀏覽楮覺郎和田代昌史的訪問短片
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Click here to watch the interview video of Kaji Kakuo and Tashiro Masafumi.
創始捐助機構 Founding Donor
主要捐助機構 Main Donor
由奥村商事株式会社、株式会社BONARM及岡田育大支援BUAISOU藝術製作 Artwork production of BUAISOU is supported by Okumura & Co., Bonarm and Ikuhiro Okada
出版 Published by 六廠基金會有限公司 Mill 6 Foundation Limited 荃灣白田壩街 45 號南豐紗廠 CHAT 六廠 CHAT/MILL6 FoundationThe Mills 45 Pak Tin Par Street Tsuen Wan, N.T., Hong Kong T (852) 3979 2301 W www.mill6chat.org E enquiry@mill6chat.org ISBN: 978-988-79608-6-7 2023年5月出版 Published in May 2023 版權所有。除構成合理交易的私人學習、研究和評論外，在未經出版者的書面同意下， 均不被授予任何許可複製、印製或以數碼、影印、攝錄等其他形式發佈數碼圖錄的 任何內容。
© 2023 版權屬於藝術家、作家及六廠基金會有限公司 © 2023 the artist, authors and Mill 6 Foundation Limited
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All rights reserved. Apart from any fair dealing for the purposes of private study, research, criticism, or review, no part of the contents of this digital catalogue may be reproduced, printed, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written consent from the publisher.
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