Black pain-weave satin interwoven with silk threads in light purple, rust, coral, maize, chartreuse, red, white, and ultramarine, and metallic threads in three shades of gold. The hexagonal shapes are definied by a weft of gold-coated paper (kinran) in pale greenish gold; the gold threads used in the medallions are wrapped. Inside each medallion is a phoenix design among a floral scroll.
Lavender silk crepe damask (rinsu) with woven mottled cloud-like pattern; designs in surihaku over yûzen: brocade and silk metallic thread embroidery. Lining is plain weave white silk above, second inner lining of white satin damask with woven design of chysanthemums on sayagata ground below. Lined with kimono fabric.
The yûzen tie-dyed design simulates the shibori effect. Shibori is a labor intensive technique, in which hundreds of hours would have been spent tying up each small section where white can be seen on the fabric before immersing it in dye. Shibori textiles are very expensive due to the time and skill required to produce them. Saga brocade is also simulated with surihaku, embroidery, and yûzen.
Terracotta-colored plain weave silk with woven pattern of paired ducks within lozenge-shaped floral scrolls; brocade done in thick white, light blue, and apricot silk floss; turquoise and purple-metallic-wrapped threads; and kinran (metallic coated paper) in two shades of gold.
Tatsumura Silk Studio fukuro obi featuring a Central Asian motif of paired ducks.
Gray silk damask woven in an arare pattern, with partial hon hitta shibori designs and shifuku (tea caddy pouch) design embroidered with silk and metallic thread
This kimono required a labor intensive technique called shibori, in which hundreds of hours would have been spent tying up each small section where white can be seen on the fabric before immersing it in dye. Shibori textiles are very expensive due to the time and skill required to produce them.