viva la resistance: the generations of shibori

taking its name from the japanese verb shiboru (to wring, squeeze, press), shibori has since become an umbrella term for a wide range of techniques japanese artisans use to fold, shape and bind cloth before dyeing. while most westerners call such techniques “tie-dye,” shibori includes more than just tying and twisting (some say there are as many as 100 different techniques), weaving a rich history as beautiful and complex as the material itself. since its ability to mesmerize has even inspired a clé classic (more on that to come), it’s time to unwrap shibori.

the dye is cast

there are many debated origins of japanese shibori, but the process of using some kind of material or method to “resist” dye and create a pattern has existed for millennia and has been developed on every continent throughout the world. but nowhere has it been as refined and esteemed as in japan, where shibori has been elevated to an artform requiring years to master.

despite being centuries old, the term “shibori” only began being used during the 1600s, when a specific japanese type of technique developed. named tsujigahana (“flowers at the crossroads”), the technique included resist-dye with small, tight stitching, in addition to hand-painting and embroidery with gold and silver leaf (we got the gold memo). the intricacy of tsujigahana made it affordable only for upper-class elites and those in court dress; instead, the peasant class typically wore cloth made of rough bast fiber typically dyed with indigo and other locally available plant roots.

subversive shibori

the 17^th and 18^th centuries in japan were characterized as a time of peace and social order, allowing for the flourishing of art and culture. new laws prohibited the excessive display of luxury among class rank and dictated class dress. in japan, as in other hierarchical societies, color became an indicator of status. lower classes were not allowed to wear purple or red, making blue, grey, and brown the colors of the common people. despite earning great wealth from the period’s booming economy, merchants were among the lowest classes and thus restricted by these laws. instead, they used their new-found wealth to find creative ways to get around them, often wearing bright colors and fine textiles underneath their outer garments. shibori played a large part of this subversion, allowing people to express themselves through the intricately dyed — yet legally acceptable — material made using indigo and cotton. through the 19^th century, shibori grew in popularity and in craftsmanship, and it paired well with japan’s new regulations which encouraged the “quiet luxury” of the iki aesthetic. all this, along with the increased cultivation of cotton, allowed for shibori to flourish.

labor of love

one key difference between tie-dyeing and the art of shibori is approach. in the practice, the pattern is the end goal. each bind and twist is made to produce a small absence of color. despite this vision, the beauty of shibori is not found in the expense of the materials used or even the skill of the dyer. rather, it is from the uncertainty of the result.

“the magic of not completely knowing what you will get — but trusting that the process will produce a unique kind of beauty — is what shibori is all about.”
- clé founder deborah osburn

shibori also creates a softer aesthetic than resist-dye techniques that use stencils or wax. the blurry wash of color, darker in some areas, lighter in others, all speak to the shibori process and decisions of the artist: how tight the bind, the placement of each stitch, even which technique to use. these all play a part in how the dye and material will interact. thus, shibori innately shows the hand of the maker and each decision made. so prized are the shibori patterns and process that the cloth is often left wrinkled — a true testament to the labor and skill of the artisan who created it.

while shibori has ancient roots, it continues to evolve today, as artists — including deborah — create new ways of manipulating materials using modern mixed media and techniques. from synthetic fibers to heat setting and heat transfer, designers like issey miyake and yoshiki hishinuma find inspiration from both the past and present.

Ann Demeulemeester Ready-To-Wear Spring/Summer 2012 Paris

Louis Vuitton Ready-to-Wear Spring 2025

Altuzarra Ready-to-Wear Fall 2023

ever-evolving

centuries old, but still new and evolving, shibori today influences everything from modern fashion to home decor, often unexpectedly, for artisans who prefer the unpredictable. in 2012, a piece of raw porcelain caught deborah’s eye; intrigued, she experimented by dipping it into different stains, resulting in a unique shibori-like design that she called watermark. its wabi-sabi look was unlike any other tile, and the unique collection became the first in a tradition of exclusive clé tiles.

and the evolution continues: watermark’s newest collection features two new clay bodies, expanded colorways, and the same quietly stunning effects. to say shibori has been passed on through generations is no stretch: the newest watermark has been led by luca osburn — deborah’s son — who has led the charge in its development, ensuring each tile carries the soul of the original and continues to take inspiration from shibori.

clé watermark dip in gold verdigris

"as we continue to evolve the watermark collection, we continue to search for inspiration in the transcendent and the natural. in this endeavor, shibori always looms large—in its ability to channel the japanese aesthetic of finding beauty in simplicity and nature, as well as the exploration of both saturation and the negative space that occupies a subject”
- luca osburn