Araştırma Makalesi
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BORO TEKSTİL TEKNİKLERİNİN GÜNÜMÜZ İLERİ DÖNÜŞÜM UYGULAMALARINDAKİ YERİ

Yıl 2025, Sayı: 3, 67 - 80, 28.11.2025

Öz

Dünya tekstil tarihine bakıldığında birçok medeniyetin göz kamaştırıcı tekstil ürünlerine rastlamak mümkündür. Kraliyetlere özgü, nadir malzemelerden üretilen bu tekstiller dünya mirasında yerini alırken; halka özgü günlük tekstillerin ne yazık ki; yeterince ilgi görmediği dikkat çekmektedir. Boro tekstileri ise ekonomik ve sosyal şartların bir gerekliliği olarak ortaya çıkıp bir felsefeyi yansıtması açısından bu durumu aşmıştır. Kendine özgü dikiş tekniği, kullanım özellikleri ile günümüzde antic tekstiller sınıflandırılmasına dahil edilmekte ve güncel moda eğilimlerinde de birer ilham kaynağı olmaktadır.
Bu çalışma Japonya’nın kültürel bir olgusu olarak Boro’nun itibarındaki iniş çıkışları incelerken sürecin; gereklilikten doğan mütevazı bir tekstilden, sanat ve tasarım alanlarındaki çağdaş yaratıcı uygulayıcılara ilham veren bir sanatsal sembole dönüşmesini ortaya koymaya çalışmakta; Boro’nun sürdürülebilirlik ve ileri dönüşüm alanına büyük ölçüde katkı sağlayan sosyal ve kültürel özelliklerine değinmektedir.

Kaynakça

  • Austin, J. (2019). Threadbare: The social history of Japanese Boro, Selvedge.
  • Briscoe, S. (2020). The book of Boro. David & Charles.
  • Clark, H. (2019). Slow+fashion-women’s wisdom, Fashion Practice; The Journal of Design, Creative Process & The Fashion Industry, 11(3), (s.309-327). https://doi.org/10.1080/17569370.2019.1659538
  • Collingwood-Norris, F. (2021). Visible creative mending for knitwear, Published by Collingwood-Norris.
  • Fujino, T. (1970), The political relationship between the Bakufu and the Han, Kyushu University Instutional Repository, 15, (s.1-12). https://doi.org/10.15017/7178635.
  • Hanley, S. B. (1997). Everyday things in Premodern Japan: The hidden legacy of material culture, University of Calironia Press.
  • Harris, F. (2015). Sustainable clothing: Challenges, barriers and interventions for encouraging more sustainable consumer behaviour, International Journal of Consumer Studies, 40(3), (s.309-318). https://doi.org/10.1111/ijcs.12257
  • Ishibashi, S. (2023, 30 November). 3 kinds of “Boro”, Kuon Tokyo. https://kuon.tokyo/blogs/blog/3- kinds-of-boro?srsltid=AfmBOorJoGpwtmgpFBWkfd_KrpDAzl0K34jw4RtGCW2bk-ZDepX-jLcw.
  • Jeunes, P. (2023, 7 February). Japanese upcycle: The art of Boro, Pour Les Jeunes. https://www.pour-lesjeunes.com/articles/innoovatorraeburn-xeklt-ml5m4
  • Khan, A., & Tandon, P. (2018). Design from discard: A method to reduce uncertainty in upcycling practice, Design and Technology Education: An International Journal, 23(2), (s.129-153). https://doi.org/10.24377/DTEIJ.article1536
  • Li, L. (2020). Reviving Boro: The Transcultural Reconstruction of Japanese Patchwork. History of Design Royal College of Art/Victoria and Albert Museum.
  • Museum, A., Museum, V. (2018). Patchwork & Quilting: A maker’s guide, Thames&Hudson.
  • Sorgato, D. (2004). Boro, Maphalda Edizioni.
  • Szczygiel, Marta E. (2023). Mechanization of night soil disposal in postwar Japan, Health and Development (s.255- 276) içinde. De Gruyter Oldenbourg.
  • Wada, Y., I. (2004). Boro no Bi: Beauty in humility - repaired cotton rags of old Japan. Textile Society of America 9th Biennial Symposium, October 7-9, 2004, Oakland, California, America. (278).
  • Yang, S., & Narasın, R. M. (2000). Textile art of Japan. Japan. Shufunotomo Co. Ltd.
  • Yıldırım, L. (2017). Geri dönüşüm/ileri dönüşüm/tekrar kullanim kapsamında ikinci el giysiler ve sürdürülebilirlik, ART-e Sanat Dergisi, 10(20), (s.484-503). https://doi.org/10.21602/sduarte.305698
  • Yoshida, S., Williams, D. (1994, January 1). Riches from rags: Saki-ori & other recycling traditions in Japanese rural clothing. San Francisco Craft and Folk-Art Museum

THE PLACE OF BORO TEXTILE TECHNIQUES IN TODAY'S UPCYCLING APPLICATIONS

Yıl 2025, Sayı: 3, 67 - 80, 28.11.2025

Öz

Throughout the history of global textiles, many civilizations have produced dazzling textile artifacts, often characterized by their association with royalty and the use of rare materials. While such textiles have secured a place in the cultural heritage of the world, everyday textiles produced and used by the general public have unfortunately received comparatively little attention. However, Boro textiles represent a notable exception, having emerged out of economic and social necessity and embodying a distinct philosophical approach. Characterized by unique stitching techniques and practical usage, Boro textiles are now classified as antique textiles and continue to serve as a source of inspiration in contemporary fashion trends.
This study explores the fluctuating status of Boro as a cultural phenomenon in Japan, aiming to reveal its transformation from a humble textile born out of necessity into an artistic symbol that inspires contemporary creative practitioners in the fields of art and design. Furthermore, the research highlights the significant social and cultural aspects of Boro that contribute meaningfully to the fields of sustainability and upcycling.

Kaynakça

  • Austin, J. (2019). Threadbare: The social history of Japanese Boro, Selvedge.
  • Briscoe, S. (2020). The book of Boro. David & Charles.
  • Clark, H. (2019). Slow+fashion-women’s wisdom, Fashion Practice; The Journal of Design, Creative Process & The Fashion Industry, 11(3), (s.309-327). https://doi.org/10.1080/17569370.2019.1659538
  • Collingwood-Norris, F. (2021). Visible creative mending for knitwear, Published by Collingwood-Norris.
  • Fujino, T. (1970), The political relationship between the Bakufu and the Han, Kyushu University Instutional Repository, 15, (s.1-12). https://doi.org/10.15017/7178635.
  • Hanley, S. B. (1997). Everyday things in Premodern Japan: The hidden legacy of material culture, University of Calironia Press.
  • Harris, F. (2015). Sustainable clothing: Challenges, barriers and interventions for encouraging more sustainable consumer behaviour, International Journal of Consumer Studies, 40(3), (s.309-318). https://doi.org/10.1111/ijcs.12257
  • Ishibashi, S. (2023, 30 November). 3 kinds of “Boro”, Kuon Tokyo. https://kuon.tokyo/blogs/blog/3- kinds-of-boro?srsltid=AfmBOorJoGpwtmgpFBWkfd_KrpDAzl0K34jw4RtGCW2bk-ZDepX-jLcw.
  • Jeunes, P. (2023, 7 February). Japanese upcycle: The art of Boro, Pour Les Jeunes. https://www.pour-lesjeunes.com/articles/innoovatorraeburn-xeklt-ml5m4
  • Khan, A., & Tandon, P. (2018). Design from discard: A method to reduce uncertainty in upcycling practice, Design and Technology Education: An International Journal, 23(2), (s.129-153). https://doi.org/10.24377/DTEIJ.article1536
  • Li, L. (2020). Reviving Boro: The Transcultural Reconstruction of Japanese Patchwork. History of Design Royal College of Art/Victoria and Albert Museum.
  • Museum, A., Museum, V. (2018). Patchwork & Quilting: A maker’s guide, Thames&Hudson.
  • Sorgato, D. (2004). Boro, Maphalda Edizioni.
  • Szczygiel, Marta E. (2023). Mechanization of night soil disposal in postwar Japan, Health and Development (s.255- 276) içinde. De Gruyter Oldenbourg.
  • Wada, Y., I. (2004). Boro no Bi: Beauty in humility - repaired cotton rags of old Japan. Textile Society of America 9th Biennial Symposium, October 7-9, 2004, Oakland, California, America. (278).
  • Yang, S., & Narasın, R. M. (2000). Textile art of Japan. Japan. Shufunotomo Co. Ltd.
  • Yıldırım, L. (2017). Geri dönüşüm/ileri dönüşüm/tekrar kullanim kapsamında ikinci el giysiler ve sürdürülebilirlik, ART-e Sanat Dergisi, 10(20), (s.484-503). https://doi.org/10.21602/sduarte.305698
  • Yoshida, S., Williams, D. (1994, January 1). Riches from rags: Saki-ori & other recycling traditions in Japanese rural clothing. San Francisco Craft and Folk-Art Museum
Toplam 18 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Güzel Sanatlar
Bölüm Araştırma Makalesi
Yazarlar

Gül Özkurt 0009-0005-1349-6628

Leyla Öğüt 0000-0003-3582-4408

Gönderilme Tarihi 5 Eylül 2025
Kabul Tarihi 11 Kasım 2025
Yayımlanma Tarihi 28 Kasım 2025
Yayımlandığı Sayı Yıl 2025 Sayı: 3

Kaynak Göster

APA Özkurt, G., & Öğüt, L. (2025). BORO TEKSTİL TEKNİKLERİNİN GÜNÜMÜZ İLERİ DÖNÜŞÜM UYGULAMALARINDAKİ YERİ. ArtDE(3), 67-80.