CHAT Winter 2019 Sudo Reiko catalogue

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

Contents What makes fabrics Nuno textiles NUNO 紡織品的生成之道

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Mizuki Takahashi 高橋瑞木

Exhibition Documentary

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Exhibition View

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Everyday Views

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展覽紀錄片

展場圖片

日常景觀 Bruce Li 李勺言

Artist Profile

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Acknowledgement

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藝術家簡介

鳴謝

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“ 布 ” 之作業 "之作業 須藤玲子：須藤玲子："布

What makes fabrics Nuno textiles NUNO 紡織品的生成之道

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Sudo Reiko: Making NUNO Textiles

What makes fabrics Nuno textiles Textiles are a unique entity. They, as materials, frequently serve a defined purpose, whether in their application in interior design, clothing or household items; other times, they are absolute perfection as a completed art form.

Stirring together the conventional taxonomical ideas of art, design and craft, the double-sided nature of these beautiful textiles often makes it difficult for us to know exactly how to appreciate them. However, despite our bewilderment in contextualising textile in art discourse, certain textile producers and designers enjoy this indefinable identity of textiles, weaving them to express their emotions, philosophies and aesthetic ideas.

Sudo Reiko is a preeminent Japanese textile designer whose curiosity and careful obser vations of her surroundings has continually driven her journeys of making. These journeys translate the subtle and unexpected beauties of everyday life and travel into openended works that are often without defined purpose, seeking from users their own forms of interpretation and engagement. With a practice that respects and challenges conventional and traditional ways of making, Sudo’s experimental textiles fascinate not only their users but also those who are engaged in their production. [1]

Sudo was born in the city of Ishioka in the Ibaraki prefecture in Japan. She remembers from her childhood the travelling merchant who visited her family to sell kimono textiles and the way she was fascinated by the beauty of the fabrics which the merchant unrolled in front of her family. This colourful memory had stayed in her mind and inspired her to study textile design. After studying textile design in Musashino Art University in Tokyo, she became a founding member of the textile shop Nuno, initiated in 1984 by the innovative textile planner, Arai Junichi. Since taking over Nuno from Arai, Sudo has developed unique textile designs, incorporating Japanese traditional textile making methods into industrial textile production and collaborating with different experts in textile making along the way.

To realise her designs, Sudo has spent the last decades working with family-run factories across Japan. These small factories specialise in different techniques, such as mechanical Jacquard weaving for Colour Plate, heat-set molding for Jellyfish, needle-punching for Threadstray and electrostatic flocking for Turkish Wall. Through trial and error, Sudo and her collaborators have jointly developed new techniques and established alternative production networks, expanding the intentions and possibilities of industrial machinery. Her endeavours are made possible

須藤玲子： “ 布 ” 之作業

by factory managers, technicians and artisans who are similarly driven by a passion for making innovative textiles. Her experimental creations also involve traditional Japanese craft artisans, such as washi paper producers.

Traditionally there are two kinds of fabrics: woven fabric, and unwoven fabric, such as barkcloth made from beaten plant fibres. Her textile Amate is the outcome of interesting marriages of woven fabric (velvet) with unwoven fibres (washi paper).

Serendipity often brings Sudo to conceive new textile designs. She sometimes attempts to translate ordinary objects and observations from the everyday into very unique textures and surfaces beyond utilitarian purposes.

For instance, her chemical-lace-derived design Paper Roll is based on her discovery of the beauty in the crosssections of stacked paper rolls, and the idea for Origami Weave was born when her colleague showed her a skillfully made origami. This is her intention. In designing textiles, Sudo’s focus is to create unique fabrics, provoking users’ imagination and creativity rather than serving a particular function. Therefore, Sudo usually does not define a specific usage or application of her textiles in advance, but relies on the end users to employ them for their respective purposes.

In this regard, her textiles can be regarded as finished design products yet at the same time retain the flexibility

potential for a wide range of imaginative applications. For instance, Koi Currents, the immersive installation designed

by French designer Adrien Gardère, illustrates how Nuno textiles interweave his reinterpretation of the traditional form of a playful school of carp streamers into 90 different colours, patterns and textures of Nuno textiles.

Acknowledging the negative impact textile production has on the environment, Sudo further addresses pressing environmental concerns, such as textile waste and recycling, faced by the global textile industry today. She sees charm in defects and byproducts, which leads her to salvage those materials and devise strategies for them to be reused in new designs. The material used in her Kibiso Crisscross is the hard outer layer of silk cocoons called kibiso, a waste byproduct generated in the industrial production of silk. When the process was mechanised, the machine was designed to reel efficiently only soft silk fibres from the inner layers of the cocoons, therefore, the hard outer layer of kibiso, which is very tough due to its internal structure and composition of the viscous sericin protein, became an undesirable raw material and would be discarded and used as animal feed or in cosmetics.

Interestingly, this pre-production waste would not exist if the reeling process was manually done. Upon discovering a large amount of unprocessed kibiso in the silk factory in

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Tsuruoka in Japan’s Yamagata prefecture, Sudo wondered if there were any ways to produce thread from this silk waste with industrial process. She applied for a grant to invest in new machinery and sought business partners who could provide technical solutions, and eventually succeeded in producing a suitable kibiso thread that can be incorporated into her designs and be mass produced on an industrial level.

Her practice underlines how technology and machinery are not the enemies of traditional handcraft skill. In fact, many of her textiles are mass produced, realised by a combination of manual labour and machinery processes. Thus, her methodology in textile production is a kind of proposition on how to make craftsmanship sustainable in the age of industrial textile production.

Exhibiting at CHAT, Sudo Reiko: Making NUNO Textiles is the first comprehensive exhibition to unveil the creative and technical processes behind the designer’s signature works, showing her varied sources of inspiration, raw materials, antique kimono swatches collection, hand-drawn sketches and tactile fabric samples – an exhibition that itself embodies collaboration in its conceptual design and development with a media artist and spatial designer. All exhibits serve to represent her creative attitude working with both traditional skills and advanced technology, as

well as her faith in those who believe in her textiles.

What differentiates CHAT’s exhibition from conventional textile exhibitions is the emphasis on the production process rather than the end products. Saito Seiichi, Director of Rhizomatiks Architecture and the artistic director of the exhibition, conceived 8 abstract textile machines, each and altogether forming an immersive installation of audio and visuals to reveal how Sudo’s textiles are made. The gallery turned into a stage for the 8 machines to perform their functions, generating sounds and visuals under their individual spotlights. Since 2016, Saito has been collecting footages of Nuno textile’s production processes in factories located in the various regions of Japan for a documentary. With the inclusion of newly recorded footages, this documentary was screened at CHAT, showing how factory workers and technicians work and operate the machines on a daily basis. Moreover, the video reveals the fact that the Japanese family-run factories are facing the problem of aging workers and the loss of successors and their skills.

The exhibition Sudo Reiko: Making NUNO Textiles has become a presentation introducing the various acts of

須藤玲子： “ 布 ” 之作業

making her textiles. Behind every design product are people with skills, techniques and a deep knowledge of raw materials. Likewise, her Nuno is the outcome of collective ideas, efforts and passion of her colleagues and collaborators and we can feel them through the supple yet structured textures of Nuno textiles.

At Nuno, textiles are our language, our inspiration, our aspiration. Textiles tell our story.

When we create our textiles, nature and tradition are woven with technology.

When we see our textiles, a moment of the future is glimpsed.

When we touch our textiles, they breathe and we feel at ease.

When we listen to the language of textiles, the message is beautiful. [2]

Takahashi Mizuki Curator of the Exhibition

[1] Sudo has said that she was significantly influenced by Anni Albers (1899-1994), who was a pioneer of textile art and design as well as a theorist on art, craft and design. In particular, Sudo was fascinated by Albers’s non-self-restrictive way of using unexpected materials such as plastic, metal and papers for textile making and her deep understanding of textile structures. (From an email conversation with the author, dated 28 March, 2020) [2] Concept of NUNO from https://www.nuno.com/about/

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NUNO 紡織品的生成之道 織物是一樣獨特的東西，他們作為物料，不論應用在室 內設計、衣服或家居用品中，常有既定的功能性。但有 些時候，他們單作為藝術品，亦絕對合適。這些漂亮的 紡織品把傳統定義的藝術、設計和手工藝品混在一起； 其雙重特質，常令我們猶疑，應該怎樣瞭解它們才好。 然而當我們正為弄清織物所屬的藝術界別而困惑，某些 紡織生產商和設計師就是喜歡它們含糊的特性，用其編 織出他們的情感、哲理和美學想法來。

須藤玲子是一名優秀的日本紡織設計師，其滿滿的好奇 心和對事物細膩的觀察，推動她持續創作。她的創作， 為我們發現生活中不經意的美；她的作品，通常不帶特 定意圖，開放予公眾找尋並建立看法。須藤的創作手法 既尊重傳統，也勇於突破。其富有想像力的織物，不但 讓一眾消費者傾倒，更使協助她生產的夥伴著迷。[1]

須藤在日本茨城縣石岡市出生，她記得小時候有背載和 服布料商人上門推銷，商人席地為家人一一臚列出布疋， 其精緻的布料令她迷倒；這絢麗回憶印進腦海中，並激 勵她日後修讀紡織設計。她在東京武藏野美術大學修讀紡 織設計，畢業後與紡織設計先鋒新井淳一，於 1984 年共

同 創 立 紡 織 公 司 NUNO。 自 新 井 退 出 NUNO 後， 須 藤 玲子接手業務，研發出各式各樣嶄新的織物設計，將日 本傳統紡織製造方法揉合工業生產技術，經營路上與業 界不同專家合作無間。

過去數十載，須藤為實現其獨特的設計念頭，與日本各 縣市的家庭式工廠合作；這些小型工廠，各自擅長不同 的紡織技術，如《顏色塊》運用的提花梭織、《水母》 的熱定型皺褶、《游離線絮》的針刺和《土耳其的牆》 的靜電植絨。經過多番實驗，不斷嘗試，須藤和合作夥 伴共同研發了嶄新的紡織技術、建立另類生產網絡以及 拓闊大眾對工業機械的意義和想像。有賴工廠負責人、 技術人員和工匠們秉持共同信念，致力改革織物，須藤 的想法才能得以實踐。她的實驗性作品亦與傳統日本的 工藝匠合作，例如和紙製造商。傳統上有兩種布料 ﹕ 平 織布和不織布，如以植物纖維製成的樹皮布。她那塊名 為《樹皮布》（「Amate」) 的布料，就是由平織布（絨布） 和不織布（和紙）的罕有交織而成。

須藤嶄新的織物設計，靈感往往源於機緣巧合、她的好 奇和對事物的細膩的觀察。時而嘗試把日常用品，或發

須藤玲子： “ 布 ” 之作業

現生活中不經意的美，轉化成非常獨特的織物質感，並 往往超越它的實用性質。例如，她用化學蕾絲衍生出來 的《捲紙》設計，是她觀察到紙捲邊呈現出螺旋型的美 態而來；而《摺紙織》的靈感，則來自她偶爾看到一名 員 工 以 一 雙 巧 手 創 作 的 摺 紙 小 玩 意。 須 藤 創 作 時 的 焦 點，是以她獨特的布料，激發使用者的想像力和創意， 而不只是符合特定的功能。因此，須藤通常不會預先說 明她的織物的指定用途或應用方法，而是讓最終使用者 們各施各法，這就是她的意圖。就此而言，她的紡織品 可視為設計製成品，而同時亦保留作多種創意用途的彈 性和可能性。譬如，法國設計師 Adrien Gardère 所設計 的《鯉魚流》體驗裝置藝術作品，把日本傳統鯉魚旗重 新演繹，利用 90 塊不同色彩、圖案、質地的 NUNO 布 料，交織成一片充滿玩味的鯉魚旗海，仿如雲海般隨風 游動。

與 此 同 時， 須 藤 也 很 關 注 全 球 紡 織 業 所 面 對 的 環 境 議 題，如紡織廢料和布料回收。她認為每事每物都有其價 值， 損 壞 的 紡 織 品 和 紡 織 生 產 所 製 造 的 副 産 品 也 不 例 外，因此她決意拯救這些物料，想方設法讓它們重生成 新的設計品。她的《長吐交織》所用的物料，是蠶繭的 最外層的保護層，稱為「長吐」，是絲綢工序產生的副 產品。當生產過程轉為機械化後，可設定程式，機器可

有效地從蠶繭的內層，只抽出軟絲的纖維。因此「長吐」 這硬外層，基於內部結構和粘性蠶絲蛋白的成分，是十 分堅硬，故多作廢料丟棄，和淪為動物飼料或化妝品原 材料。但有趣的是，若抽絲的工序是人手處理，就沒有 這種生產前的廢料。當須藤在日本山形縣鶴岡市的製絲 廠的某角內，發現有大量未加工的「長吐」，她思忖是 否可用工業生產方法，將那些廢絲物盡其用，升級再造 成絲線。她申請了補助金，買進新的機器，並尋求能夠 提供技術解決方案的業務夥伴，最終成功研發出合適的 長吐線，並納入她的設計中，以工業化大量生產。

她的創作實踐強調，科技和機械與傳統手工技術，不一 定是敵對的。實際上，她有很多紡織品都是有賴於工人 及機器的互相配合，才能大量生產。所以，她的紡織品 生產方法提倡怎樣令傳統工藝在紡織生產工業化的年 代，得以持續保育。在 CHAT 六廠展出的「須藤玲子： “ 布 ” 之作業」，是首個全面性的展覽，展出設計師的 重點作品背後的創意和技術過程，陳列出她各式各樣的 靈感來源、原材料、收集的傳統和服布樣、手繪草圖及 布料樣板。是次展覽的概念設計與實踐，也是與媒體藝 術家和空間設計師共同合作而成；所有展品均代表她的 創作態度，即揉合傳統工藝與先進科技，並向她的生產 夥伴和愛好者們致敬。

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與傳統的紡織品展覽不同，CHAT 六廠的展覽重點在生產 過程而不是製成品。Rhizomatiks Architecture 總監和展覽的 藝術總監齊藤精一，以 8 部虛構的紡織機器，利用聲畫裝

置，各自獨立卻互有關聯的建構，展示出須藤玲子的織物 創作過程。展廳變作一個舞台，讓 8 部機器在場域聲效、 視覺裝置和聚光燈下，展示它們操作時的模樣。錄像的內 容，是齊藤自 2016 年，在日本各縣市工廠收集 NUNO 織 品生產過程的影片片段。這套記錄片包括了新拍攝的片段， 可看到工廠的工人和技術員日常工作和機器操作的實況。 而且影片也反映出，這些小型的家庭式工廠正面對工人老 齡化、缺乏繼承人和技術瀕臨失傳等問題。

「在 NUNO，織物是我們的語言、我們的靈感、我們的抱負。 織物編出我們的故事。 當我們創作織物時，大自然和傳統與科技聯成一體。 當看見我們的織物時，可以領會到未來的一刻。 當觸摸我們的織物時，它們散發的氣息，令我們安心。 當聆聽到紡織品的物語時，是多美的信息。」[2]

高橋瑞木 展覽策展人

「須藤玲子：“ 布 ” 之作業」的展覽作為一種呈現方式， 介紹她的不同紡織品的製造手法。在每個設計產品背後， 有賴一班熟手技工、技術人員和對原材料有資深了解的匠 人。同樣地，在她領導下的 NUNO，是她的同事和合作夥 伴秉持共同信念，共勉之的成果，我們可從靈活而有條理 的 NUNO 紡織品體會出來。

[ 1] 須藤曾說過，她深受 Anni Albers (1899-1994) 的影響； Albers 是紡織藝術和設計的先驅，又是一位藝術、工藝和設計的理論家。須藤對 Albers 瞭解紡織品結構的深入程度，和那種沒 有自我限制的想法尤其着迷，就如 Albers 在紡織製作時，使用塑膠、金屬和紙張這些意想不到的物料。（出自一封與作者對話的電郵，日期 ﹕ 2020 年 3 月 28 日） [ 2] NUNO 公司背後理念 https://www.nuno.com/about/

須藤玲子： “ 布 ” 之作業

Exhibition Documentary

展覽紀錄片

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Click to view the Exhibition Documentary 按此播放展覽紀錄片

須藤玲子： “ 布 ” 之作業

Exhibition View

展場圖片

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Koi NUNO Currents,Textiles, Sudo Reikoview: & Adrien Gardère, 2008/19 Sudo Reiko: Making Exhibition CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2019-2020

須藤玲子及 Adrien Gardère，《鯉魚流》， 2008/19

須藤玲子： “ 布 ” 之作業

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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

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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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

針刺：《游離線絮》 Occasionally when I mend things — hand-stitching frayed shirt sleeves, darning holes in sock heels, even hauling out the sewing machine to redo a bed cover — I enjoy the process of leaving pretty needle trails across the fabric. But one day while hemming an organdy partition, guiding my sewing machine rhythmically along as usual, instead of making nice even marks, the needle broke and gouged horrible rips in the material. And yet the organdy threads, torn and splayed, looked remarkably beautiful in the light. Hmm, I thought, maybe we could use jagged needles to intentionally scar textiles with different designs?

Immediately, I made inquiries of needle-punching firms who process felt, suit linings and other substrates, as well as a mill in Gifu that makes automobile floor mats. Our first barbed breakthrough was the Kenzan Stripe (1987), which was selected for the design collection of the Museum of Modern Art, New York — great incentive to keep exploring further possibilities in needle-punching. Next, we approached the Yamanashi Finishing Company, a fabric finishing workshop in Fuji Yoshida willing to take on small volume jobs, a collaboration that yielded this Threadstray. We spread our fabric on the needle-punching machine table and manually arranged the wool threads ever so slightly left and right to look like hand loomed warps and wefts, then attacked the soft wool strands at a blinding speed with a plate of thousands of barbed spikes to create an almost-felt that seems neither woven nor knitted.

每每進行修補─不論以手針縫補磨蝕的袖邊、填補襪跟 的破洞、甚或調動出縫紉機來重塑床鋪─我都享受為布 留下悅目線跡的每一刻。有次為薄紗分隔簾增添摺邊， 本該翩翩起舞、隨著節奏踏步的縫紉機車針，竟因損壞 而挖掏出何等醜陋的布洞。紗線破碎，然而在光線的折 射下，卻又輕盈動人。我靈機一觸：倒不利用損壞的針， 為布面留下傷痕，藉此造出形形色色的設計？ 我隨即詢問從事內襯布等的針氈加工商號，甚至連絡上 一所位於岐阜縣，向來為汽車車廂製作地氈的工廠。我 們首個突破是一件名為《劍山縞》（1987）的作品，後 來因被納入紐約現代藝術博物館的設計館館藏，而促使 我們延續對針刺技術的研究。之後，我們聯絡上山梨縣 織物整理，一所位於富士吉田願意作小量生產的紡織品 加工工場，合力研發出《游離線絮》。首先，我們會將 羊毛條攤平於針刺機機床上，然後輕微挪動以仿效手織 機的經緯線，最後，一面具數千枝倒勾氈針的板子，便 會以懾人的速度，針擊綿軟的羊毛條，氈合出一面似織 非織的布面。

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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

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

收縮網布：《水母》 Polyvinyl chloride fibres used to make fire-retardant automobile seats and chemical-resistant industrial filters also have the drawback of contracting at temperatures over 60ºC. Nuno, however, has a thing for ‘misappropriating’ technologies from disparate fields for creating ‘impossible’ new textiles. How then to make use of this material that cannot be ironed? We sewed this shrinking material onto small ‘cookies’ of thermoplastic polyester taffeta, which has a much greater temperature tolerance, baked it at 80ºC and watched it shrivel up before our eyes. After many such ‘kitchen tests’, we searched for a willing partner to put our idea into full-swing production and found metal leaf and dye specialist Nakanishi Dye Works in Shiga prefecture. Mr Nakanishi proposed streamlining the labourious process by screen-printing ‘stitches’ in glue, the results of which were so good we patented the process — made public for the first time ever here at CHAT. Our finished organdy ‘jellyfish’ fairly squirms with buoyant life.

用以生產耐火汽車座椅及抗化學腐蝕工業過濾網的 聚氯 乙 烯纖維，短處在於攝氏 60 度的高溫能使其收縮。 NUNO 向來擅於「挪用」不同技術來創造原本難以想像、 「不可能」的嶄新紡織品。這種不耐燙熱的物料到底能 如何一展所長？我們將這種遇熱收縮化纖物料縫入較耐 熱的塔夫綢，然後放入攝氏 80 度高溫的家庭式焗 爐，立 時收縮。經歷無數次小實驗後，我們找到了位於滋賀縣 的貼金與染布專家中西染工，願意將我們的小構想投入 生產。中西先生提議簡化繁複的工序，換以絲網代替縫 紉，透過印刷塗上網狀設計。這個做法效果更佳，我們 為工序申請專利，在 CHAT 六廠更是首次公開。輕柔薄 紗，宛如浮沈中的水母。

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

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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

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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

廢料再造：《長吐交織》 Prior to World War II, Japan was the number one producer of silk in the world, but by now only two places in the country still spin silk. Some 70% of that output is from Usui Seishi in Gunma just north of Tokyo; the remainder comes from Tsuruoka, Yamagata, in the far north where Nuno has been making textiles since 2008. When we first visited in 2007, we came across piles of thick white cocoon refuse called kibiso in a corner of the Matsuoka Silk Workshop. The outermost protective layer secreted by silkworms was discarded as it was too tough and crooked to be drawn out into thread. In the past, it was pounded into wadding and spun into threads, but the process proved too labourious, so typically it gets grounded up for animal feed or used in cosmetics. In 2008, Nuno launched a collaborative project with the Tsuruoka Textile Makers Cooperative to help find creative uses for kibiso and revive the local silk industry, but its 5,000 denier thickness could not be woven on high-speed automated looms. Through much trial and error we eventually managed to fashion somewhat finer yarns by hand, and from then on our efforts accelerated. A 2009 grant from Japan’s Ministry of Economy, Trade and Industry allowed us to develop a machine for tearing 500 denier kibiso yarns and sales really took off. Unlike the usual sleek silks, kibiso is rough and dense, but its moisture-retentive, absorbent and antibacterial properties make it an extremely versatile material.

In 2016, the entire project was selected for the permanent collection of the Cooper Hewitt, Smithsonian Design Museum.

I strongly feel this project sets a great example for textile design to realise a no-waste, use-everything potential.

二戰前，日本的絲綢產量冠絕全球，現時全國卻只剩兩 處紡絲地。當中約有 7 成成品出產自東京以北，群馬縣 名為碓井製糸工場的繅絲公司，而其餘的均來自位於日 本北邊山形縣鶴崗，該處更是 NUNO 自 2008 年的生產夥 伴。2007 年我們首次到訪，在 松 岡絲綢坊的一個角落看 到一堆堆名為「長吐」的絲蠶廢料。這是蠶蟲首先吐出 的外殼，由於堅硬曲折，不便於紡紗，所以通常被丟棄。 這物料過往曾被用作填充料甚或紗線，但處理的工序繁 複，所以較常淪落為飼料及化妝品原料。2008 年 NUNO 與名為鶴岡織物工業協同組合的織匠合作社合作，通過 重塑長吐來振興當地的絲綢業，但可惜高速織機未能採 用 5000 丹尼爾的粗度。經過無數試驗，終於用手紡出較 纖細的絲線，我們的進展才變得迅速。2009 年我們得到 日本政府經濟產業省的補助，開發出 500 丹尼爾的長吐 細紗，銷售額亦隨即上升。長吐有別於設想中的平滑絲 線，是厚實而又粗糙的，同時受惠於如保水、吸濕及抗 菌等特性，所以是一種多功能的物料。2016 年我們這個 企劃被挑選納入庫珀 . 休伊特史密森尼設計博物館的永 久館藏。我深信這個企劃，為紡織訂立一個升級再造、 物盡其用的良好先例。

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

縮摺織：《摺紙織》 By now everyone knows origami, the Japanese pastime of creasing flat pieces of paper into ‘peak’ and ‘valley’ folds to sculpt cranes, frogs and a thousand other things.

One member of our Nuno team is very good at origami, especially simple repeated geometric shapes. Passing by her desk one day, I happened to see one of her folded abstract ‘doodles’ and thought, how could we do a fabric like that?

Experimenting by trial and error, we took a hint from the pleats on schoolgirl uniform skirts. The process, which we developed in collaboration with an expert at the Gunma Prefectural Textile Research Centre and subsequently patented, required laying fabric between two identically folded paper ‘moulds’ and heat-pressing to set the creases.

20 years and many origami textiles later, we exhaustedly wondered if there might be any way to obtain the same results without all the labourious, repetitive folding of paper.

In short, an automated origami machine. Thereon, through more trial and error and hints from pin-tuck weaving, we succeeded in developing a loom that could mechanically do peak and valley folds. Initially, we used elastic polyurethane core threads, but the ‘trick’ was plainly visible. No secret at all. Eventually we hit upon a heat-sensitive thread that allowed us to remove the elastic basting and keep the folds in place – just like magic!

日式摺紙是一種無人不曉的消閒娛樂，過程中，山摺與 谷摺能將平坦的紙張變成鶴、青蛙等千變萬化的事物。 NUNO 的其中一名成員特別愛好摺紙，擅於幾何圖案的 重複摺疊。有一天，偶爾經過她座位時發現她摺成的一 個抽象「塗鴉」，立刻令我思考如何以布詮釋。我們以 校服摺裙作靈感，進行實驗。我們又與名為群馬縣纖維 工業試驗場的研究中心合作，開發出一個後來獲取專利 的工序，過程中包括將布料夾於兩幅紙模之間，施以熱 力，固定摺痕。經歷 20 餘年及無數次摺布的煎熬後，我 們開始幻想如何跳過繁複又瑣碎的摺布工序，取得同樣 效果。簡單而言，我們需要的正是一台自動摺紙織機。 通過屢次實驗及縮摺給予的 啟發，我們終於開發出一台 能自動摺布的織機。起初，我們用上氨 綸為紗芯的彈力 紗，但織成的布料卻將我們的技倆原形畢露。後來，我 們碰上對熱力敏感的紗線，讓我們能先以熱力縮摺，後 將餘紗挑走，過程留下的摺痕竟牢固不褪─恍如魔法！

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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

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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

植絨：《土耳其的牆》 Most of our ideas are inspired by chance in daily life, but travel also sparks our imagination. On my first visit to Turkey in 1980, I was amazed to see the gigantic white travertine ‘castles’ built up by the thermal waters of Pamukkale, so very white and layered in texture. When I got back to Tokyo, I tried to translate my memories into a new textile by experimenting with different white pigments — gofun shell powder, lead white, titanium oxide, magnesium chloride, as well as flocked rayon microfibres, foaming polymers and fluorescent paint – sometimes printing two or three different agents together on a single piece of fabric, only to find that multiple layering did not add any depth to the pattern.

Whereupon I tried two colourants on the front and back of the fabric. Ultimately, we settled on electro-steaming rayon flocking on a polyester ground, followed by titanium oxide on the reverse. Very labour intensive and nowhere near as magnificent as those travertine deposits, but the new process was a momentous discovery for us.

我們的創作靈感大多來自日常生活中的巧遇，但旅遊也 會偶爾 啟 發靈感。1980 年初次到訪土耳其，看到當地位 於帕慕卡雷一座又一座由泉水形成的「棉花堡」石 灰 岩， 它們雪白無比、質感豐富，令我為之震驚。回到東京， 我嘗試將記憶轉化為織品，以不同白色顏料作實驗─如 扇貝貝殼提煉出的胡粉、鉛粉、 鈦 白粉、 氯化鎂甚至由 人造棉、發泡聚合物及螢光顏料為原材料的植絨絨毛─ 我亦曾將不同顏料重疊，但質感卻沒有因而變得格外豐 富。據此，我嘗試將兩種顏料添附於布的兩面，最後決 定先以靜電將人造棉絨毛植入化纖底布，後以 鈦白粉襯 托背面。繁複的工序沒法媲美壯觀的石 灰 岩，但對我們 而言，仍不失為一個重大突破。

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。

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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

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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

和紙印：《樹皮布》 Japanese washi papers have a long history tracing back to the early 8th century Nara period and are still widely used in crafts and for papering fusuma sliding doors and translucent shoji window screens. The plasticity of kozo, mitsumata and gampi plant fibres makes possible thin strong papers of unparalleled quality. Much rougher by contrast, though no less appealing, the primitive amate ‘bark cloth’ made by indigenous Otomi artisans in central Mexico is the product of traditions harking back to pre-Columbian times. Fashioned by cross-laying strips of amate tree bark into grid-like sheets, its earthy texture is unlike anything in Japan. So why not celebrate the contrast of textures as a textile design statement? In 2000, we took thick sheets of kozo paper, cross-laid like amate bark cloth, and had metal leafing experts at Nakanishi Dye Works in Shiga prefecture affix it to a lustrous velvet using washi paper tear sheets as backing for added texture. We ourselves were surprised at the leathery looking result.

日本的和紙工藝可追溯至 8 世紀的奈良時代，至今仍用 以製作日式趟門上的「襖」及透光的「障子」窗。楮、 三椏及雁皮等可塑性較強的植物纖維，能造出堅韌無比 的上乘薄紙。相比之下，「樹皮」（amate）布的魅力源 於其粗糙及原始的質感，是墨西哥中部的傳統工藝，早 於前哥倫布時期已由奧托米原住民製作。樹皮條以十字 型交織成一種罕見於日本的粗曠質感。那何不運用這種 質感的對比來標榜設計概念？ 2000 年我們以楮紙交織出 樹皮布的十字紋路，交由滋賀縣中西染工的貼金專家固 定於絨布上，最後在背面附上一層和紙點綴。成品的質 感與皮革的相似，我們也感到意外。

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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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

須藤玲子： “ 布 ” 之作業

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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

須藤玲子： ““布 ””之作業

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Exhibition view: Sudo Reiko: Making NUNO Textiles, CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2019-20

須藤玲子： “ 布 ” 之作業

Everyday Views

日常景觀

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Everyday Views In late August of 2019, in preparation for Sudo Reiko: Making NUNO Textiles, I travelled to visit the factories that realises the many textile designs of Sudo Reiko. Over three days, I passed through the Japanese prefectures of Gunma, Yamanashi and Shiga.

What follows sprout, in retrospect, from handwritten notes taken in between factory visits. The impressions are neither conclusive nor exhaustive of the sites visited, but nonetheless are given form through text, geography, chronology and photography.

Mr Kijima inspects a broken warp yarn while Mrs Kijima looks on with care 木島先生檢 查 經紗斷頭，木島太太則在旁觀察

日常景觀 為預備「須藤玲子：“ 布 ” 之作業」的展覽，在 2019 年 8 月底，我於三天內穿梭日本的群馬縣、山梨縣和滋賀 縣，走訪多間與須藤玲子合作、生產織物的工廠。

此文章的源頭，是從拜訪這些工廠期間所寫下的隨筆萌 芽而生的。現靠文字、地理、時序和相片為餘下的印象 和感想，賦予形式。

須藤玲子： “ 布 ” 之作業

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Gunma Prefecture 28 August, 2019

群馬縣 2019 年 8 月 28 日

Kijima Warper

木島整經

I stood on a small landing situated between two doors facing each other: one that opens into a home and the other into a factory. Mrs Kijima emerged from my left and guided me through the door on my right. I took off my shoes before entering the factory room. Inside, industrial equipment was spread out around the space, with collected works of Kawabata Yasunari stacked on bookshelves.

我站在兩門相對的小平台：一道門進入住宅，另一道進 入工廠。木島太太在我左側出來迎接，帶我進入右邊的 門。我入廠房前先脫鞋。內部四周放置不同的工業設備， 而書架上叠滿川端康成的文集。

The Kijima warping facility is operated by a couple with greying hair. Warping is the process of preparing warp yarns for industrial weaving. While this preliminary process may not occur on the same site as weaving, it must be executed with the woven product in mind, accounting for its unique yarn counts, densities, tensions, colours, sequences and fibre properties. Generally, two pieces of hardware are required to carry out this process: a rack known as a creel which holds the bobbins of each warp yarn and a beam on which these yarns are wound upon. The Kijima wooden creel is simple, elegant and perfectly adapted to thrive in the angular geometries and the low ceiling of the space.

On my arrival, I realised that Mr Kijima did not appear to be working that day, still he kindly staged a demonstration for

木島整經工廠是由一對年老的夫婦負責打理。整經是準 備經紗紗線作工業梭織的步驟。這個前期的準備並不一 定和隨後的梭織同場進行，但施工時必須考慮不同因素， 如成品獨特的紗支數、密度、拉力、顏色、次序及纖維 特性。這個工序一般需要兩件硬件：一個名為整經紗架 的支架，上面放著每條經紗的線軸，和一條把紗線捲繞 起來的經軸。木製的整經紗架簡單而精緻，和諧地置入 角度及高度不一的空間。

在我到訪之時，才得知當天的木島先生並沒打算工作， 他仍很體貼地為我作操作的示範，迅速開動機器，但又 因經軸上有經紗斷線而突然中止。他用放大鏡確定紗線 的斷頭，追蹤它在整經紗架上的位置，然後用新的線軸 把它換掉。看他在整經紗架前左閃右避，像遊樂場玩耍 的小孩，難得他一把年紀，依然身手敏捷。

須藤玲子： “ 布 ” 之作業

my viewing. He quickly got the machines running, but was quickly interrupted by a broken warp yarn on the winding beam. With magnifying glasses, he located the snapped yarn and traced it back to its position on the creel, before replacing it with a new yarn bobbin. Watching him dodge around and about the creel was like watching a child in his playground, and he seemed to embody a dexterity surprising for his age.

如果當天真是他的休息日，我必然打擾了他。我突然感到 不安，我的不請自來可有令他不勝其煩。我深信有些藝術 工作是不應被審視或讓人看見。我有離開的衝動，好讓木 島先生不會感到像要在人前表演般的而緊張起來。

If that were his day off, then I must have disturbed his peace.

I was suddenly worried that I may have prompted work simply by my visit. I do believe that some artistic activities are just not meant to be scrutinised or seen. I felt an impulse to leave, so as not to make Mr Kijima also nervous about his spectated performance.

Mr Kijima replaces a yarn bobbin in his wooden warper creel, which he is sometimes not tall enough for 木島先生為替換整經紗架上的線軸，有時須要爬高爬低

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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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With a threaded needle, she was reweaving a segment of fabric where the warp thread must have snagged and broke.

While Jacquard technology is recognised for its complexity, automation and speed, its mistakes are sometimes still best remedied by a patient pair of hands. Sometimes the mistake was not a broken warp yarn but a tightly woven patch that could be loosened by a massage between the palms. Perhaps it was the serenity of the countryside and the company of her muffled radio in the background, but though the inspection process was lengthy, it did not appear tedious. I saw that she still had many metres of fabric to inspect, and so with a note of gratitude, I departed.

Quality checking may perhaps only ever be done by hand 人手做品質檢 查 可能始終較佳

她用針線重織布料上經線被鈎破的部分。儘管提花織機 被公認為自動又快捷，並能製作複雜的圖案，但有些問 題，還是用柔韌的雙手作補救更佳。有時候有些瑕疵不 是鈎破的經線，而是布料的一小部分織得過緊，只要用 掌心輕輕摩擦，就會變回鬆軟。可能是郊外的恬靜，伴 著她背後柔和的收音機聲音，檢查的步驟雖然漫長，但 不覺乏味。看見她還有多批布料需作檢查，我向她點頭 道謝便離開。

須藤玲子： “ 布 ” 之作業

Yamanashi Prefecture 29 August, 2019

山梨縣 2019 年 8 月 29 日

As day broke, I made an early departure from Gunma to Yamanashi. This trip was blessed by long car rides.

天一亮我便從群馬縣出發去山梨縣，這是一趟受盡長途 車河眷顧的旅程。

Mount Fuji emerges as clouds part – a beautiful day in Fujiyoshida, Yamanashi 富士山從雲霧中冒出來，山梨縣富士吉田市美好的一天

It is hard to believe that a factory can have near in its view, Mount Fuji. Could you ever get used to a sight so spectacular? How do you go about your daily errands when Mount Fuji sits right outside your window? How inevitable is it for landscapes to influence our work?

很難相信在一間工廠竟可近距離對望着富士山，這麼壯 觀的風景誰會看得厭？當你的窗外正對著富士山，你還 有 心 情 辦 理 日 常 瑣 事 嗎？ 風 景 到 底 如 何 影 響 我 們 的 工 作？

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Tsuguo Inc.

Tsuguo 織物

At the doorstep of the factory building, I changed into indoor slippers and was welcomed by Mrs Watanabe into a room at the end of the hallway. The room had all the components of a functioning family space, equipped with sofas and dining tables bearing baskets of fruit.

渡邊太太在工廠大樓的門口歡迎我，我換上家居的拖鞋， 她帶我到走廊盡頭的一間房間。那是一個家庭的生活空 間，配有沙發和盛載果籃的餐桌。飯桌後面有幾道磨砂 玻璃門，可通往工場，內有幾台提花織機，正在織出須 藤的招牌《摺紙織》。當趟開門時，我最先留意到的並 不是織機，而是地方何其乾淨。我曾到過不同廠房，亦 在工廠打過工，記憶中廠房織機周圍都堆積滿線軸脫出 來的纖維。就算機器被清潔過，總會發現地上蓋了一層

Behind the dining table were frosted glass doors that opened to the factory floor, behind which were Jacquard looms weaving away to create Sudo’s signature Origami Weave. As the doors slid open, I first noticed not the looms but the cleanliness of the space. Having been to and worked in factory spaces, I recall itchy eyes and noses in rooms saturated with fibres shedding from spools of yarn, descending to accumulate around various parts of the loom. And if not found on the machine, they are found caked on the floor in fine layers of dust. But at Tsuguo Inc., both the looms and the hardwood floors were clean, the latter of which retained a warm, burnished sheen.

Operated by just Mr and Mrs Watanabe, their son and one external employee, Tsuguo Inc. is strikingly well-maintained for the dynamism of Jacquard looms.

層 薄 薄 的 灰 塵， 令 眼 鼻 痕 癢。 但 是 在 Tsuguo 織 物， 織 機和硬木地板都很乾淨，後者更保留着一種暖和擦亮的 光澤。由渡邊夫婦、兒子及一名外聘的員工共同經營，

Tsuguo 織物的廠房保養極為良好，不見猛烈的提花織機 常會留下的傷痕。

須藤玲子： “ 布 ” 之作業

The proud and handsome Jacquard looms of Tsuguo Inc. kept just behind the frosted doors Tsuguo 織物引以為傲和功能良好的提花織機，僅放在磨砂門後

Perhaps it is kept so clean because the family lives there? Or perhaps, it is reflective of the respect for the tools used to sustain crafts and livelihoods. In the hour or two I spent there, the Watanabe family graciously allowed me to move in and out of their spaces, providing me a slight taste of what it was like for work and life to be so tightly interwoven. On one of the walls hung a family portrait, perhaps a rare sight in a factory, but in line with my observations thus far, where family and craft have become so intertwined that they have become inseparable.

是否因為前鋪後居，才能保持得那麼窗明几淨？或許反映 出他們珍惜養活一家的謀生工具，和對傳承工藝的尊重。 在我逗留的一兩小時，渡邊一家很親切地讓我在他們的空 間隨意出入，令我細味出生活與工作的緊密連繫，是何等 滋味。牆上掛著一幅罕見於工廠內的全家福，反映我至今 的觀察，家庭和工藝交織在一起，兩者不可分割。

令我喜出望外的是，在我離開前，偶然聽到渡邊夫婦現 正修讀時裝的兒子，已表達願意傳承家業。那是一個理 想的情況，但又有幾多家庭式工廠能有相同際遇？我真

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Just before I left, I overheard that the son of the Watanabe household, who is studying fashion, has expressed his willingness to take up the family legacy. I was overjoyed.

Such is an ideal scenario, but how many other familyrun factories can say the same? I wondered what it must have been like to grow up with the family business. I also imagined how an artist’s vision may inspire and sustain the crafts of collaborating artisans. What are the implications and responsibilities for artists who choose to be involved with and collaborate with artisans?

想知道，在一個做小型家庭式生意的家庭長大到底是怎 樣的。我也設想着，如何以藝術家的視覺，啟發和支撐 著夥伴工匠的工藝。對那些藝術家來說，選擇與工匠合 作有什麼意義和責任呢？

Shiga Prefecture 30 August, 2019

滋賀縣 2019 年 8 月 30 日

Nakanishi Dye Works

中西染工

Situated in a warehouse about the size of two tennis courts, Nakanishi Dye Works appeared closest to my idea of a factory.

But far from the laborious monotony associated with and expected of factories, Mr Nakanishi’s space was more like a large artist’s studio with their ingenious subversion of industrial techniques. On that day, I was there to watch Mr Nakanishi’s son being filmed screenprinting, which would later become video projections in CHAT’s exhibition.

中西染工，位處於約兩個網球場般大的倉庫中，最貼近 我對工廠固有的設想。但和你預料中那種操勞、沉悶的 工廠環境相差甚遠。中西先生的空間較像一間藝術家工 作室，因他巧妙地顛覆工業技術。當天的到訪，是為了

Every visit to an artist’s studio involves unpicking its idiosyncratic process of creating. In between filming

拍攝中西先生的兒子進行絲網印刷的過程，用作 CHAT 六廠展覽中的錄像裝置。

每次參觀藝術家的工作室，都能慢慢剖析他們獨有的創 作過程。每當拍攝暫停，中西先生、太太、兒子及他們 的一位資深員工，便安靜、及時和從容不迫地繼續他們

須藤玲子： “ 布 ” 之作業

Print tables are long and angled to maximise yardage and to enhance the ergonomics of screen-printing; whenever there is time, Mr Nakanishi’s son, Ippei, washes them down with water 印刷枱是長身和傾斜的，以求取得最大的碼數及增強絲網印刷的人體工學；每當時間許可，中西先生的兒子一平便會用水冲洗印刷枱

sessions, Mr Nakanishi, Mrs Nakanishi, their son and their long-time studio employee would, in a quiet and at times languid manner, slip into fulfilling their regular tasks. Their movements were swift and nonchalant: 5 steps to pick up a bucket of water, another 10 to rinse down the long, angled printing tables; across the room, fabric would be unrolled and secured rhythmically onto printing tables with a staple gun; before long, the fabrics would be screenprinted using inks and squeegees, the wooden grips of which have been made smooth like glass by the practised hands of Mr Nakanishi and his son.

Nakanishi Dye Works, like any other place of production, is a repository of unique techniques, objects and gestures of

每日慣例的工作。他們的動作敏捷和恬然：走 5 步抽起 一桶水，多走 10 步冲洗那張長而傾斜的印刷枱；在廠房 的對面，他們會把布料攤開，有節奏地用釘槍把布料固 定在印刷枱上；不久，便會用顏料和膠刮把布料進行絲 網印刷，那把用了多年的膠刮木柄，已被中西先生和兒 子熟練的雙手，握至光滑如玻璃般。

像其他生產場所，中西染工是一個擁有獨特技術、工具 和勞動姿態的智慧寶庫。工廠內的運作大都只用肢體溝 通，讓各人集中手頭上的工作。能夠到訪這些工場，再 令我立刻感到謙卑和不自在。我擔心我的聲音會打破他

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labour. The activities of factories often proceed nonverbally, so the hand can focus on its work. I am at once humbled by and self-conscious again of my presence in these sites. When I am there, I worry my voice would break the silence imperative to their work. And as I depart, I worry that their labour will not be remembered. What if their techniques are not inherited?

Does Mr Nakanishi recognise the greatness and importance of his work? How do you articulate an atmosphere of labour and process to product-driven societies? And who is to redirect the attention that these labourers deserve?

Every object and body in the space proceeded in synchronicity and in reciprocity with each other. Though the late summer rains made their theatrical drop onto the tin roofs above, I heard louder still, the hum of rapport between families and machines.

Snuggled and working together in harmony are the bodies and tools of Nakanishi Dye Works 中西染工，工人與機器共同工作

們工作所須的沉默。而當我離開時，我又擔心他們的辛 勤會就此被遺忘。如果沒有人繼承他們的技術怎麼辦？ 中西先生是否意識到他的工作的偉大和重要性？怎樣能 在產品為導向的社會中，清楚地表達出工人的工作環境 和生產過程？誰才能轉達這些工人應得的關注？

場內的每個身體和每件物品，都適應著彼此的節奏。雖 然遲來的夏雨，在鐵皮屋頂隆隆作響，我聽到更響亮的， 卻是家庭和機器和睦共處的哼聲。

須藤玲子： “ 布 ” 之作業

This journey was spent as much in transit as it did within its professed sites of study. Some months later, as I trace the whirlwind of my journey once again, I am left with an overwhelming sense of uncertainty. In their self-motivation, virtuosity and pride, every site appeared at once both and neither a factory nor a home, and in my failure to decide how to act accordingly within them, I veered off into nervousness. As my attempts at categorical differentiation collapsed, my self-consciousness also demonstrated that there remains artists and artisans who sustain modes of productions that are decidedly unique, quotidian and personal – these artists of the everyday.

匆匆旅程，花在轉乘途中，與所謂實地考察的時間差不 多。幾個月後，當我再次追憶自己旋風式的旅程，我感 到一種無法抗拒的不確定性。在他們的自我激勵、精湛 技術和自豪感中，每個場所都具備了既像工廠又像住家 的氛圍，當我無法界定他們之間的區別並作出應對時， 我變得緊張起來。而我試圖進行分類區別的努力失敗時， 我也更為清楚地意識到，仍然有藝術家和工匠維持著獨 特的、日常的及個性化的生產模式——著實寓生活於工 作的藝術家。

Bruce Li

李勺言

Textile Research Specialist

紡織研究專員

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Artist Profile

藝術家簡介

須藤玲子： “ 布 ” 之作業

Sudo Reiko 須藤玲子 Textile Designer 紡織設計師

Design Director, Nuno Corporation, Tokyo NUNO 公司設計總監，東京 Sudo Reiko is the Design Director of Nuno Corporation, an innovative textile company in Tokyo, Japan. Nuno is internationally known for interweaving traditional techniques and aesthetics with new technologies. Experimenting with various materials from silk to metal, Sudo has been especially concerned with the recycling and upcycling of textiles and the environmental effects of textile production.

She has participated in numerous group shows worldwide, and has been the focus of exhibitions in Japan, Iceland, the UK and the US. Her works are represented in the permanent collections of major institutions including the Museum of Modern Art, New York; the Victoria & Albert Museum, London; and the Tokyo National Museum of Modern Art Craft Gallery.

須 藤 玲 子 是 日 本 東 京 紡 織 公 司 NUNO 的 設 計 總 監， 該 公司以新科技結合傳統工藝和美學而於國際間聞名。須 藤喜用由絲綢至金屬等不同物料實驗，並一直關注紡織 物回收與升級再造，以及紡織生產對環境造成的影響。 須藤的作品曾在世界各地展出，尤其在日本、冰島、英 國和美國屢受矚目。她的作品被多間藝術機構包括紐約 現代藝術博物館、倫敦維多利亞與艾伯特博物館與東京 國立近代美術館的工藝館永久收藏。

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Saito Seiichi 齋藤精一 Artistic Director

藝術總監

Director, Rhizomatiks Architecture, Tokyo Rhizomatiks Architecture 總監，東京 Born in Kanagawa in 1975, Saito Seiichi began his career in New York in 2000 after graduating from Columbia University with a Master of Science in Advanced Architectural Design (MSAAD). Since then, he has been active in creative work at the Arnell Group, and returned to Japan upon being selected for the Echigo-Tsumari Art Triennial event. He produces works in the commercial art field which are three-dimensional and interactive while rooted in logical thought, which he cultivated through his time in architecture.

Saito has won numerous international awards since 2009.

He currently serves as Director of Rhizomatiks Architecture, Tokyo, while also lecturing part-time at the Department of Graphic Design at Kyoto Seika University. He was on the 2013 D&AD Digital Design Jury, the 2014 Cannes Lions Branded Content and Entertainment Jury and Good Design Award 2015-2017 Jury. He was appointed the Milan Expo Japan pavilion theatre space director, Media Art Director at Roppongi Art Night 2015, Vice Chairman of Good Design Award 2018 and Creative Adviser of Dubai Expo 2020 Japan pavilion.

齋藤精一 1975 年出生於神奈川縣，獲哥倫比亞大學的建 築設計科學碩士學位後， 2000 年於紐約開展他的事業。 及 後， 他 一 直 於 阿 內 爾 集 團 ( Arnell Group) 從 事 創 作， 直到獲越後妻有大地藝術祭邀請後便回到日本發展。他 以從事建築培養出來的邏輯思想，在商業藝術領域創作 具有互動性的立體作品。 齋 藤 從 2009 年 起 贏 得 多 個 國 際 獎 項。 他 現 時 是 東 京 Rhizomatiks Architecture 總監和京都精華大學平面設計系 兼職講師。他亦擔任多個獎項的評審，包括 2013 年英國 設計與藝術指導協會（ D&AD）數碼設計獎、 2014 康城 國際創意節（ Cannes Lions）的品牌內容及消閒及 201517 年好設計獎（ Good Design Award）。他被委任為米蘭 世博日本館劇場總監、六本木藝術夜 2015 的媒體藝術總 監、 2018 年 好 設 計 獎 副 主 席 和 2020 年 杜 拜 世 博 日 本 館 創意顧問。

須藤玲子： “ 布 ” 之作業

Adrien Gardère Installation Designer of Koi Currents

《鯉魚流》裝置設計師

Founder, Studio Adrien Gardère, Paris

Studio Adrien Gardère 創辦人，巴黎

Adrien Gardère is a designer, museographer and the founder of Studio Adrien Gardère, which has established enduring relationships with major international institutions such as the Musée du Louvre, the Aga Khan Trust for Culture, the Kennedy Center for the Performing Arts and has worked with some of the world’s leading architects such as Foster + Partners, SANAA, David Chipperfield and Fumihiko Maki.

Gardère enjoys new partnerships in which design and content provide a visual, educational and uplifting experience.

Adrien Gardère 是 一 名 設 計 師、 博 物 館 學 家 及 Studio Adrien Gardère 的 創 辦 人。 Studio Adrien Gardère 與 多 間 國際機構如羅浮宮博物館、 Aga Khan Trust for Culture、

約 翰． 甘 迺 迪 表 演 藝 術 中 心 長 期 合 作， 亦 曾 經 和 多 位 知 名 建 築 師 如 Foster + Partners、 SANAA、 David Chipperfield 和 槇 文 彥 共 事。 Gardère 喜 歡 建 立 新 的 合 作 項目，透過設計及內容營造集視覺、教育與歡樂於一身 的效果。

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Acknowledgement

鳴謝

須藤玲子： “ 布 ” 之作業

鳴謝

Acknowledgement We would like to express our sincere gratitude to the following organisations and individuals, as well as all those who contributed to the realisation of the exhibition.

衷心感謝以下機構及合作夥伴， 與我們攜手實現展覽。

The D. H. Chen Foundation

陳廷驊基金會

Nan Fung Group

南豐集團

KLM Royal Dutch Airlines

荷蘭皇家航空

L’hotel

如心酒店集團

Fukuma Lace Inc.

Fukuma Lace Inc.

Gunma Prefectural Textile Research Institute

Gunma Prefectural Textile Research Institute

Vivian Hui

許君婷

Hyodo Orimono Inc.

Hyodo Orimono Inc.

Kato Embroidery Inc.

Kato Embroidery Inc.

Kijima Warper Inc.

Kijima Warper Inc.

Lantau Blue

片藍造

Nakanishi Dye Works

Nakanishi Dye Works

St James' Settlement

聖雅各福群會

Tsuguo Inc.

Tsuguo Inc.

Founding Donor 創始捐助機構

Main Donor

主要捐助機構

Supported by 支持機構

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Sudo Reiko: Making NUNO Textiles

「須藤玲子：“ 布 ” 之作業」

November 2019 – March 2020

2019 年 11 月至 2020 年 3 月

Nuno

NUNO

Kobayashi Hiroko

小林浩子

Mashiba Jun

真柴 純

Masui Gaku

增井 岳

Shimoda Sayuri

下田小百合

Sudo Reiko

須藤玲子

Takashige Orie

高重織衣

Takekura Hiroaki

武倉弘明

Ueno Kazuhiro

上野和広

Yasui Yumi

安井裕美

Artistic Director

藝術總監

Saito Seiichi (Rhizomatiks Architecture)

齋藤精一 (Rhizomatiks Architecture)

Koi Currents Installation Designer Adrien Gardère

《鯉魚流》裝置設計師 Adrien Gardère

Exhibition Designer

展覽設計師

Tashiro Masafumi

田代昌史

須藤玲子： “ 布 ” 之作業

Digital Audio and Visual Production

數碼視聽製作

Homma Muryo (Rhizomatiks Architecture)

本間無量 (Rhizomatiks Architecture)

Motoki Tatsuya (Rhizomatiks Architecture)

元木龍也 (Rhizomatiks Architecture)

Yamaguchi Nozomi (Rhizomatiks Architecture)

山口望未 (Rhizomatiks Architecture)

The Rouge Sound Limited

奧伶製作有限公司

Exhibition Construction

展覽施工

Kuji Koichi (Comm Lab)

久慈康一 (Comm Lab)

Ishikawa Norihiro (Comm Lab)

石川智洋 (Comm Lab)

Sumida Toshiaki (Comm Lab)

角田敏明 (Comm Lab)

Hattrick Creative Limited

雅卓創意有限公司

Exhibition Production Technician

展覽製作技術員

Belinda Choi

蔡詠茱

Lau Yin Yeung

劉彥揚

Masahiro Nakamura

葉政宏

Mok Chun Kit

莫俊杰

Ng Kai Fung

吳 啟峰

Wong Winsome Dumalagan

黃慧心

Curator

策展人

Takahashi Mizuki

高橋瑞木

(CHAT (Centre for Heritage, Arts and Textile))

（ CHAT 六廠（六廠紡織文化藝術館 ））

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Staff List

團隊名單

CHAT Crew (As of 21 Nov 2019)

CHAT 六廠團隊（截至 2019 年 11 月 21 日）

Takahashi Mizuki

Co-Director

Teoh Chin Chin

Co-Director

高橋瑞木

張晶晶

聯席總監 聯席總監

Curatorial Department

策展部門

Paola Sinisterra

Director, Textile Programmes

Paola Sinisterra

紡織項目總監

Him Lo

Curator, Exhibitions and Learning

盧樂謙

社區及共學策展人

Wendy Wo

Project Manager

胡敏儀

項目管理經理

David Chan

Curatorial Assistant, Exhibitions and Collections

陳信騫

展覽及館藏策展助理

Taylor Cheng

Curatorial Assistant, Exhibitions and Collections

鄭銘柔

展覽及館藏策展助理

Men Tin Lam

Community Facilitator

萬天琳

社區項目統籌

Hazyl Lam

Senior Officer, Project Management

林楚穎

項目管理高級主任

Essa Lin

Senior Officer, Textile Programmes & Merchandise

連曦雯

紡織項目及採購高級主任

Gabrielle Wong

Assistant Officer, Textile Programmes

黃昭穎

紡織項目助理主任

Bruce Li

Textile Research Specialist

李勺言

紡織研究專員

Rayven Sin

Programme Assistant, Learning

冼慧芝

共學活動助理

須藤玲子： “ 布 ” 之作業

Management and Operations Department

管理部門

Chiu Tsz Man

Director, Finance and Administration

趙子珉

財務及行政總監

Marlene Lieu

Director, Operations

呂瑪琳

營運總監

Zon So

Head, Communications

蘇綽玲

傳訊主管

Jackle Cheng

Manager, Visitor Experience

鄭善文

訪客服務經理

Dominic Wan

Assistant Venue Manager, Creative Production and Operations

溫志堅

創意生產及營運助理場地經理

Ida Chow

Senior Accountant

鄒詠婷

高級會計

Stephanie Li

Executive Secretary

行政秘書

Dennis Man

Assistant Manager, Creative Production and Operations

李盈慧

文永亮

Felix Lo

Senior Officer, Communications (Digital Media)

羅港俊

傳訊（數碼媒體）高級主任

Willis Lam

Senior Officer, Creative Production and Operations

林泳欣

創意生產及營運高級主任

Grace Wong

Officer, Communications

黃曉恩

傳訊主任

Joyce Kwok

Assistant Officer, Creative Production and Operations

郭穎淘

創意生產及營運助理主任

Leo Yuen

Administrative Assistant

袁建暉

行政助理

Miki Ho

Officer, Visitor Experience

何燕兒

訪客服務主任

Cheung Wai Wai

Ambassador

張維慧

活動大使

Kiki Chong

Ambassador

莊詩慧

活動大使

Jane Kong

Ambassador

江沅婷

活動大使

Lilian Lee

Ambassador

利欣恩

活動大使

Cloris Tsang

Ambassador

曾曉彤

活動大使

Tik Yan Yeung

Ambassador

楊狄恩

活動大使

Kwok Hang Lin

Sewing Team

郭杏蓮

車衣隊

Cheung Chi Mau

Sewing Team

張志謀

車衣隊

創意生產及營運助理經理

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Digital Catalogue

數碼圖錄

Editors

編輯

Taylor Cheng

鄭銘柔

Takahashi Mizuki

高橋瑞木

Wang Weiwei

王慰慰

Grace Wong

黃曉恩

Editorial Coordinator

編輯統籌

Grace Wong

黃曉恩

Design

設計

Willis Lam

林泳欣

Contributors

撰稿

Takahashi Mizuki

(P.4 – P.7)

高橋瑞木

(P.4 – P.7)

Bruce Li

(P.54 – P.67)

李勺言

(P.54 – P.67)

中文翻譯

Chinese Translation Benjamin Li

(P.4 – P.10, P.54 – P.67)

李俊海

(P.4 – P.10, P.54 – P.67)

攝影

Photography Chris Lusher

(All except P.18 - P.19, P.54 - P.67)

Chris Lusher (P.18 - P.19， P.54 - P.67 除外 )

Cheung Choi Sang Samson

(P.18 - P.19)

張才生

(P.18 - P.19)

Bruce Li

(P.54 – P.67)

李勺言

(P.54 – P.67)

Exhibition Documentary Production

展覽紀錄編輯

Felix Lo

羅港俊

Dabinlo Lab

打邊爐創作室

須藤玲子： “ 布 ” 之作業

Published by 出版

Mill 6 Foundation Limited 六廠基金會有限公司

CHAT/MILL6 Foundation The Mills, 45 Pak Tin Par Street Tsuen Wan, N.T., Hong Kong 荃灣白田壩街 45 號南豐紗廠 CHAT 六廠 T (852) 3979 2301 W www.mill6chat.org E enquiry@mill6chat.org ISBN: 978-988-79607-3-7 Published in May 2020 2020 年 5 月出版 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. 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。

© 2020 the artists, authors, Nuno Corporation, Rhizomatiks Architecture and Mill 6 Foundation Limited © 2020 版權屬於藝術家、作家、 Nuno Corporation、Rhizomatiks Architecture 及六廠基金會有限公司

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