Inlets began with two Japanese boro noragi vest fragments from the late 1800s to the early 1900s. I was drawn to the icy faded blues and the incredible texture. The plaid and striped patterns show through the layers, and it feels like everything the fabric went through is still right there on the surface. I deconstructed the vests and combined them with other fragments, moving the pieces around until the composition felt balanced. I spent over 240 hours hand sewing the fragments together.

I made Mantle with two sides that feel different but belong together. The more textured side is made mostly from a deconstructed pair of Japanese monpe pants from the mid to late 1800s. I was drawn to the icy blue mixed with a soft yellowed patina, and the worn areas where the darker indigo shows through. I kept the patchwork and repairs visible and reinforced everything so it can continue to be worn.

On and On is made from antique Japanese books. What excites me most about this piece is the range of detail across the covers. As you look around, you start to notice the details. There are stamps of geese and a small bird, remnants of a child’s stickers, a hand-drawn face, handwriting, and bits of arabesque, floral, and wave patterns.

Beneath came together from many Japanese boro fragments, including a long noragi jacket from the 1800s that I deconstructed. I peeled back layers on several of the pieces to see what was underneath. I was especially excited when I found the fabric with the three faces. I had never come across a print like that before. It was a nice surprise.

I made Steps from antique Japanese books I’ve been collecting over time. I’ve always loved the covers, especially the different shades of faded blue and teal. The writing and small marks on them draw me in, and I’m always especially happy when I find one with a drawing. In this piece, there’s a Japanese face peeking out from the lower left side.