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Ragged Beauty: Repair and Reuse, Past and Present . 2004. Exhibition catalog. San Francisco: Museum of Craft and Folk Art.

Wada, Y.I. Memory on Cloth: Shibori Now, Tokyo: Kodansha International, 2002. As of 2019, 7th printing of hardcover edition.

Stevens, R., Wada, Y., ed. The Kimono Inspiration: Art and Art to Wear in America, Washington, D.C.: Pomegranate Communications, 1996. [Co-curated exhibition of same title] [Part three: Toward an American Understanding of the Kimono pp.128-160].

Wada, Y.I. “Blossoms Unveiled.” Shibori II: Himetaru Hana, Kyoto: Unsodo Co. Ltd., 1990. [Preface in Japanese and English]

Wada, Y.I., Rice, M. and Barton, J.  Shibori: The Inventive Art of Japanese Shaped Resist DyeingTokyo: Kodansha International, 1983. As of 2019, 18th printing including hardcover and paperback editions.

Wada, Y.I. & Ritch, D. Ikat: An Introduction, Berkeley: Kasuri Dyeworks, 1973. [Reprinted Australia: Kelvin Grove College of Advanced Education, 1982]. view pdf


“What is Boro?”, BORO – The Art of Necessity Exhibition Catalog, The Museum of Far Eastern Antiquities, Stockholm, National Museum of World Culture, Sweden, 2021.

“Living National Treasures: Textile and Garment Artists. ” 2010. In Berg Encyclopedia of World Dress and Fashion, Vol. 6: East Asia, Part 5: Japan. John E. Vollmer, ed. Oxford: Berg Publishers. view pdf

“Synthesizing Nature and Technology: Towards a Universal Visual Syntax.” 2003. Exhibition catalog for Keiko Amenomori Schmeisser. Canberra, Australia. Washington, DC. Nara and Kyoto, Japan. view pdf

“Contemplative Geometry: Kay Sekimachi’s Poetic Expression in the Essential Language of Line, Surface and Dimensional Form.” In Portfolio Collection: Kay Sekimachi. Brighton, UK: Telos Art Publishing. 2003. view pdf

“With the Flow, Against the Grain.” Essay for Exhibition of Keiko Amenomori-Schmeisser. 2003. Canberra: ACT’s Craft & Design Centre.

“Japanese Design: A Survey Since 1950.” 1994. Contributing essay in exhibition catalogue Philadelphia Museum of Art. Foreign publications: Paris: Centre Georges Pompidou . 1996. Tokyo: Suntory Museum, 1996. Milan: Triennial di Milano and Octavo , 1995. Düsseldorf: Kunsthalle Düsseldorf and Wasmuth, 1995.

“Perspectives from the Rim: Japan/USA Invitational.” 1991. Catalogue for exhibition of contemporary work in surface design. Seattle: Bellevue Art Museum.

“Craft to Art: Contemporary Work in Indigo” and “Indigo in Japan.” In Indigo/Leven in een kleur. 1985. Contributed two papers to this anthology assembled by the Indigo Foundation and Tropen Museum in Amsterdam. Weesp, Netherlands: Fibula-Van Dishoeck.

“Kimono East/West,” In Catalogue for an exhibition held in conjunction with Southeast Regional Conference of the Surface Design Association. 1981. Gatlinburg, Tennessee: Arrowmont School of Arts and Crafts. Reprinted in Fiberarts . 1981.


“Transformative Power of Stitchery: Sashiko from Cold Regions of Japan and Embroidery Work of the Nui Project.” Symposium 2020 Proceedings. Boston: Textile Society of America. view pdf

“Flower Passion: Colors for Petals and Insects.” 2018. Selvedge, issue 81. London. view pdf

“Arimatsu to Africa: Shibori Textiles Developed for African Trade in 1948 to 1949.” Symposium 2016 Proceedings. Savannah: Textile Society of America. view pdf

“Japanese Boro: A New Way to See Beauty.” Väv – Scandinavian Weaving Magazine. Nr.4, Linkoping, Sweden. 2016. view pdf

“Shibori as an Art Form.” Textile Asia Journal 3, issue 3 (January) 2012.

“Boro – The Mottainai Essence.” Ikebana International, vol. 56, iss. 1, publication no. 150, Tokyo, Japan, 2012. view pdf

“Fiber, Texture and Light: Japanese Contemporary Textile Design.” Ikebana International, vol. 55, iss. 2, publication no. 148, Tokyo. 2011. view pdf

“Kimono Mode and Marketing: Popular Textiles for Women in Early Twentieth Century Japan” for Research Journal of Textile and Apparel. 2010. Hong Kong: Institute of Textile and Clothing, Hong Kong Polytechnic University.

“THE SOU·SOU IMPULSE: Using the Traditional Japanese Design of Arimatsu NarumiShibori, SOU·SOU Creates Garments with a Youthful Flair, Locally.” FiberARTS, Summer, 2008, Interweave Press, Loveland, CO. view pdf

“In a Word: The Woman Behind the Quilts.” Article about African American quilt artist Rosie Lee Tompkins. Selvedge, issue 17. London . 2007. view pdf

“From Kitsch to Art Moderne: Popular Textiles for Women in the First Half of Twentieth-Century Japan” and “Starlets and Masters: Meisen Posters Published by the Textile Makers.” Symposium 1996 Proceedings. New York: Textile Society of America, 1997. view pdf.

“Shibori: How an Old Tradition Survives in the New World: When Japanese Wooden Poles Are Replaced by American PVC Pipes.” Symposium 1994 Proceedings. New York: Textile Society of America. 1995.

“Nui-Shibori: The Stitch-Resist Folk Shibori of Japan.” Piece Work (Sept./Oct.) 1994.

“Fires and Fighting Are the Flowers of Edo: Firemen’s Jackets and the Phenomenon of Firefighting in Edo, Japan.” Ukiyo-e Society of America Journal. 1994.

“The World of Jun’ichi Arai.” Surface Design Journal. 15, no. 4 (summer) 1991.

“International Shibori Exhibition in Japan.” Also, a review on the Fourth International Contest, Surface Design Journal 14, no. 4 (summer) 1990.

“International Textile Design Contest and Exhibition.” Threads, no. 24 (Aug./Sept.) 1989 and no. 29 (June/July) 1990.

“Fashion and Fabric: A Report on the Third International Textile Design Contest in Tokyo, Japan,” Surface Design Journal 13, no. 4 (summer) 1989.

“From a Judge’s View: The Third International Textile Design Contest.” Gekkan Senshoku Alpha (April) Kyoto. 1989.

“Notes: International Textile Competition,” Threads, no. 17, (June/July) 1988.

“The Florist Who Knows No Seasons.” Threads, no. 13 (Sept./Oct.) 1987.

“New Twist on Resist.” Threads, no. 8 (Dec. 1986/Jan.) 1987.

“Innovations in Indigo.” Fiberarts (Sept./Oct.) 1986.

“Shibori in the U.S.” (10-page article in Japanese) Gekkan Senshoku Alpha , no.17. Kyoto. 1982.


One Needle, One Thread: Miao (Hmong) embroidery and fabric piecework in Guizhou, China, by Tomoko Torimaru. 2008. Honolulu: University of Hawai’i Art Gallery.

Spiritual Fabric: 20 Years of Field Research among the Miao People of Guizhou, China, by
Sadae and Tomoko Torimaru. 2006. (bilingual in Chinese and English). Fukuoka, Japan: Nishi-Nippon Newspaper Co.

Imprints on Cloth: 18 Years of Field Research among the Miao People of Guizhou, China, by Sadae and Tomoko Torimaru. 2004 . Fukuoka, Japan: Nishi-Nippon Newspaper Co. (bilingual in Japanese and English).


Hinagata: Kimono Pattern Books: Pentagram Papers 31 . 1999. San Francisco, New York, Austin, and London: Pentagram Design.

Japanese Design: A Survey since 1950. 1995. by Felice Fischer, Kathryn Hiesinger, et al. Philadelphia: Philadelphia Museum of Art.


Natural Dye Workshops with Sustainable Methods, I, II, III & IV. Producer of documentary film series on sustainable natural dyeing with Michel Garcia. Berkeley: Slow Fiber Studios.

“Beyond Mordants & Indigo Intensives.” 2019. Filmed in Brittany, France.

“Organic Pigment Lakes & Dyes.” 2014. Filmed in Provence, France.

“Colors of the Americas on Wool.” 2012. Filmed in Oaxaca, Mexico.

“Colors of Provence.” 2011. Filmed in Provence, France.

Arimatsu Shibori: Celebrating 400 years of Japanese Artisan Design. 2007. Associate producer for documentary of traditional artisans and history of shibori production in Nagoya, Japan. San Francisco: Studio Galli Product.