To kogin or not to kogin

In the 1930s, the Japanese art historian Soetsu Yanagi wrote about kogin, defining it as ‘one of a kind beauty, impossible to replicate anywhere else.’

Yanagi was the founder of the Mingei Movement, and the first in Japan to focus on the study and appreciation of folk crafts, which Yanagi recognized in everyday objects made by unknown craftspeople. Kogin embroidery fits right into this definition: when we look at our kimono, all we know is that it was made by a woman of the Tsugaru region, and that this type of garment was worn by the people of Tsugaru in their daily life. In fact, Yanagi travelled to the Tsugaru region himself, and underlined the value of kogin as a Japanese regional folk craft.

Yanagi theorized that each regional craft in Japan had developed naturally from the territory itself, and that the role of craftspeople was just to follow natural laws when creating objects. In fact, the true value of a craftsman was in obtaining perfection by repetition, rather than searching for an individual artistic style. This way, the craftsman could create true beauty in which objects follow the ideals of utility and simplicity, while avoiding unnecessary decoration. From his point of view, kogin was born out of the cold landscape of the Tsugaru region, the lack of cotton and the availability of time during the long snowbound winter. To create kogin, the women of Tsugaru followed mathematical rules to create traditional patterns, which were utilitarian in nature. For all these reasons, he stated that kogin was .unique to Tsugaru, the supreme example of Japanese regional handicraft.’[Yanagi & Brase 2017]

While kogin-embroidered kimono are not the daily clothing choice of the people of the Tsugaru region anymore, Japanese craftspeople still make kogin. These craftspeople try to follow the traditions of kogin as closely as possible, for instance by following the same mathematical patterns which were developed over centuries by the women of the Tsugaru region. But at the same time, they are divided between carrying on the traditions of kogin and the necessity to make some changes to keep this craft alive. For example, they now use textiles and stitches in different colors, such as pink and red, or apply kogin to different kinds of objects, such as bags and wallets. These innovations seem to go against the ideals of Yanagi, as they are not the fruit of natural development, and are not utilitarian in nature. They do, however, make the products more appealing to customers.[Cf]

This ambivalence in the practice and ideals of the craftspeople can make us reflect and question the value of tradition and of modern folk crafts: as a folk craft, kogin is not “owned” by an individual, it is the product of numerous anonymous craftsmen. And so, who chooses what is real and legitimate kogin, and what is just embroidery? And how is kogin going to develop in the future?