The Austrian making Japanese Kimonos [inside my journal]

Ayse Brunner-Schachinger is one of a rare breed of kimono makers outside of Japan. Now part of the paper republic team (join us! See open opportunities here) she shares how she started, why she loves kimono, and how her journal comes into her kimono design…

Why kimono?

I was first introduced to kimono making at the University of Applied Arts in Vienna, where I studied art education. After creating my first kimono, I was completely captivated — I couldn’t stop. One kimono quickly turned into five, as I became deeply fascinated by the intricate techniques and traditions behind this ancient craft.

How do you make a kimono and what’s special about them?

In the world of textiles, it’s a unique process because a traditional kimono is made from a single, square piece of fabric. There are no off-cuts, no wasted fabric. The entire shape is achieved by cutting, folding and sewing. And traditionally, in order to wash them, you have to take them apart!

I draw on traditional sewing techniques, reinterpreting them to create kimonos that blend timeless craftsmanship with modern wearability. Working primarily with linen, cotton and loden instead of silk, I design pieces that transition seamlessly through the seasons, from light, airy summer kimonos to longer, layered versions for the colder months.

What is it about designing kimonos that you love so much?

I see the first square of fabric as a blank canvas — a space of infinite possibility. It invites creation: to be drawn upon, stitched, printed, transformed. Each mark and thread adds a layer of meaning, and when all these pieces come together, they become something to wear — an artwork that moves with you and also fits into your daily life.

That's what I love to explore; to see each kimono as a unique art piece. I also love the idea that in Japan, kimono can be used to communicate. The length of the sleeves, how you close it, how you tie it, how many layers you wear. There is a whole hidden language of kimono. 

Do you make kimonos to order or just make them first and then sell them?

Normally, I create them first and foremost as pieces of art. Once finished, I have found that the right customer somehow comes to me. For example, I made once one with a large embroidered area on the back and I also made screen-printed fabrics just for this piece.

It was an insect themed piece that was a lot of work, and I loved the process of making it. But when it was finished, I thought: who is going to wear this? Because it was a very special and unique piece. But a friend of mine bought it and wore it at her wedding! She still loves it and wears it in daily life. My kimonos always seem to have a way of finding the right people. 

Is interest in kimono in Europe growing?

Yes. The fact that you can find kimonos in stores like H&M shows how deeply they’ve entered contemporary culture. But this fascination isn’t new; the kimono carries a long and layered history. 

What we often see on the high street, however, are garments that only echo its silhouette; dressing gowns or robes loosely inspired by its form, made from inexpensive fabrics. Yet around the world, many designers are reimagining the kimono with respect and creativity, drawing from its essence to craft unique interpretations that bridge tradition and modernity. 

How do you go from the idea to the final kimono?

During my art studies at university, every project required a plan — a clear vision of the final outcome. Many of my works were connected, in one way or another, to the kimono, and I was always expected to know exactly what the finished piece would look like.

Today, my process has become much more intuitive and organic. I begin by gathering around ten different fabrics, creating a tactile palette from which the piece will emerge. From there, I select one as the main fabric and start composing with the others, sometimes adding just a two-centimeter strip as a subtle detail.

It feels closer to painting than to traditional fashion design. I often start with a feeling or a theme rather than a fixed image. Recently, for example, I created a kimono as a wedding gift for friends. They have a little greyhound, and I wanted him to be part of their story so I designed a custom greyhound-dog pattern for the kimono’s inlay.

It normally takes me around two weeks to finish one. Each one I make is numbered. And each is one of a kind, although some are part of collections. I’m up to thirty something now.

What role do your journals play in your kimono making?

My process often begins with small sketches in my grand voyageur [pocket] notebook. I love working on paper republic mixed media drawing paper; its texture invites experimentation. It allows me to play freely with different markers and pencils, layering lines, colours, and textures.

Sometimes I even staple small pieces of fabric directly onto the page, merging drawing and textile in a spontaneous dialogue. Through this playful exploration, a rough idea begins to take form, and once it feels resolved, I move on to refining and working with the main fabric.

Would you like to visit Japan to see kimono makers on their home turf?

I’m deeply fascinated by traditional Japanese techniques such as stitching, dyeing, and embroidery. One day, I hope to visit Japan to experience these crafts firsthand and to understand the philosophy and precision behind kimono making at its source.

Yet my curiosity extends beyond Japan. There are so many rich textile traditions around the world, each rooted in its own culture and landscape. I would love to explore these techniques in the regions they originate, learning directly from the people who keep them alive.

What equipment do you need for making a kimono?

My essential tools are simple: scissors, a measuring tape, needles and thread, and a sewing machine. I have created kimonos entirely by hand, but the process is time-consuming, and the stitching tends to be more durable when executed with a machine. An iron is equally indispensable, as each stitched line must be carefully pressed. In my view, a kimono cannot be made without ironing, with the exception of wool kimonos, since wool naturally resists creasing.

You are part of the paper republic production team, making our leather journals by hand. What do you like about working here? 

I like that in the team, and actually across the whole company, there is a wide range of people from a lot of different backgrounds. It makes it a really interesting place. And overall, there are a lot of creative people: artists, designers, illustrators. I think these types of people are attracted to paper republic because we all have the urge to work with our hands and create things with different materials. 

Ayse lives and works in Vienna. She studied at the University of Applied Arts in Vienna and holds a Master’s degree in Textile Design from the Art University of Linz.  See her wonderful kimonos on her Instagram or website: AyseBrunner.at.

All kimono and portrait photos courtesy and copyright of Laura Melone.