But to aficionados, the authentic Japanese boro pieces on display in a new exhibition at Tūhura Otago Museum are a visually striking example of traditional textiles.
The term ‘‘boro’’ refers to cotton, linen and hemp materials, hand-woven by peasant farmers, that have been repaired by stitching or re-weaving together to create fabrics used for warm, practical clothing.
Boro textiles are typically coloured with indigo dye, historically because it was the cheapest and easiest to grow dyestuff available to the lower classes.
They were created out of necessity in rural Japan, and embody resilience, sustainability, care and creativity amid hardship.
Through intricate sashiko stitching, patchwork repairs, and richly textured indigo fabrics, the everyday objects blur the boundary between historical artefact and contemporary artwork.
The 78 exhibits come from the private collection of Carterton collector Pip Steel, and are now on display in ‘‘Boro: Timeworn Textiles of Japan’’ — one of the most extensive exhibitions of genuine boro artefacts ever displayed in New Zealand.
It contains a vast range of noragi work jackets, lovingly patched children’s kimono, heavily repaired worker’s trousers, decorative komebukuro rice bags and rare sashiko-stitched textiles.
Ms Steel said she was ‘‘over the moon’’ her collection was being displayed at Tūhura Otago Museum.
‘‘Knowing that Dunedin and the wider region are home to many talented designers and a huge audience interested in pattern-making, quilting, embroidery, textiles, and mending, this felt like a very natural fit,’’ she said.
Museum exhibitions and design head Craig Scott said he had worked closely with Ms Steel on the display and presentation of the exhibits, to highlight themes of sustainability, repair, craftsmanship, and human connection through textiles.
‘‘Because the garments required a suspended display system, the design evolved with a subtle nod to shoji screens, while exposed raw timber and unfinished surfaces reflected the sustainability, repair, and continual evolution central to boro textiles.
‘‘The beauty of boro is that every stitch tells a story.
‘‘These pieces carry the marks of everyday life, hardship, creativity and care across generations.
‘‘There’s something incredibly human and relatable about that.’’
He said the exhibition also reflected the philosophy of mottainai — respect for resources and aversion to waste.
It offered visitors a timely reflection on sustainability and the value of repair.
The exhibition opens on Friday in the museum’s People of the World Gallery.
