His device: (Fieldless) On a hexagon Or a rabbit's head cabossed sable.

Wafuku -
The Clothing of Japan
by Ishiyama Gen'tarou Yori'ie

Kanji for his name

In his costuming work, Ishiyama focusses on garb that might be appropriate for men in the Momoyama period, especially garb for mid-level nobles who might have dealings at court.

Individual projects are detailed as part of Ishiyama's mundane project pages, especially the page devoted to his early work in Japanese garb. Ishiyama also actively participates in Tousando, a web forum dedicated to Japanese historical recreation, where he posts about his own work and encourages others.

Notable Projects

Sir Morgen's Daimon Hitatare

I had the pleasure of being asked to help make elevation garb for Duchess Morguin of Rye. The hitatare is a daimon hitatare, patterned after this one and this one. The hitatare and hakama no hitatare are both made of red hemp linen from Hemp Basics (unsolicited plug). The screen printing of the badge was done by Lady Fuji'na Takako who is at the right edge of the frame in the photo, I believe with some help from Lady Elaine Fairchilde. The kotsuyu knots, sodetsuyu sleeve ties, and munahimo chest ties are marudai-braided silk, applied with help from Baroness Cecily of Whitehaven and Lady Caillen Athlone. The hitoe layer (hitoe and hakama no hitoe) is white linen.

Silk Kariginu

My second kariginu ever (first one was 2011, eep!) and my first in silk. It's a lightweight brocade that the store told me was 100% silk, though with that metallic thread in there I have my doubts. This garment is fully lined, in a plain weave lightweight silk. The sleeve cords were hand braided on a marudai from cellulose yarn. They are affixed to the sleeves with "belt loops" made of the same brocade fabric as the shell. The collar cord was hand braided on the marudai from silk yarn.

His Majesty's Hitatare Sugata

This hitatare sugata was constructed from silk brocade for His Majesty Byron the King of Aethelmearc to wear. As usual, it was a pleasure to be able to work in such fine materials for such an enthusiastic recipient. To complete the outfit, there are also a linen under-kosode, silk kosode, tate eboshi, and two silk brocade kyahan. As usual, the kumihimo braids and kikutoji were also made by hand.

Hitoe no Hitatare in Silk

This hitoe layer, comprising a hitoe upper-body garment and a hitoe no hakama lower-body garment are made entirely of silk and hand sewn. They are the product of several months of part-time work. They are intended to be worn beneath a hitatare sugata, an outfit consisting of a hitatare upper-body garment and a matching pair of hakama.

Hitatare Kamishimo, Kamakura

This is meant to be a recreation of the green hitatare kamishimo that is dated in Mitsuo Kure's book as being "Mid-Kamakura", only without all the fabric painting. It's called "everyday wear" in the Japanese Costume Museum in Kyoto. (more pictures)

Hitatare Kamishimo, Momoyama

This is meant to be a recreation of a hitatare kamishimo from Japan's "Momoyama" historical period, with all the fabric painting. It's similar to "Warrior general in kataginu and hakama" in the Japanese Costume Museum in Kyoto. (more pictures)

Suikan Sugata

The Suikan Sugata was everyday wear for men and boys of higher class warrior families. This outfit won "Populace Choice" and "Baron and Baroness Elect's Choice" awards at The "Summer's End - Gion Festival" on Saturday, September 10th, 2011 in the Canton of Beau Fleuve, Barony of the Rhydderich Hael. (more info)

Warrior's Daywear

In later period, even noble warriors were not expected to be formally dressed all the time. During the Momoyama period, the kataginu kamishimo was considered acceptable daywear, especially when at home or during leisurely pursuits. This outfit consists of a light blue linen kosode, large-sleeved dark blue cotton kosode, tabi socks, and the medium blue kamishimo of sleeveless kataginu vest and wide-legged hakama.

Commoner's Daywear

This outfit, based on one in the Kyoto Costume Museum, consists of garments that would be appropriate as everyday wear for a merchant or prosperous commoner during the Momoyama period, perticularly while travelling. It consists of a sando gasa hat, eboshi head covering, two layered kosode, narrow hakama drawn up at the hem, kyahan leg coverings, tabi footwear, and geta clogs.

Class Handouts

Tate-Eboshi the Yotsutani Way

I visited the "Yotsutani Tate-eboshi Senmonten" eboshi workshop on the eleventh and twelfth of October, 2016, during my trip to Japan to participate in an episode of the TV show, "Who Wants to Come to Japan?". I wrote this article to communicate to my friends and colleagues what I learned about traditional eboshi making. I also used this article as the basis for an hour long class.

Taught at Pennsic 43 in August of A.S. 52

Suikan, and So Can You

The Suikan was everyday wear for men and boys of higher class warrior families. It is an unlined upper-body overgarment. It is worn over kosode, tied shut at the neck with a cord, and held shut at the waist with an "obi" belt or by tucking it into the "himo" ties of the pants. Several other garments are similar to the suikan, like the lined "kariginu" formal over-robe and the "hitatare" semi-formal jacket, so learning to make and wear the suikan is a good skills-builder.

Taught at Pennsic 43 in August of A.S. 49

Tabi Foot Coverings

Tabi are Japanese foot coverings that have a split between the big toe and other toes to accommodate thong footwear like "zori", "waraji", and "geta". They are a staple of Japanese costume from ancient times until today. They are appropriate for both men and women, although in period men seem to have more leeway in terms of color, while women mostly wore white tabi.

Taught at Pennsic 44 in August of A.S. 50

Eboshi Head Coverings

Eboshi are Japanese head coverings that were worn informally throughout the SCA period. As in Europe, medieval Japanese men rarely left their homes with their heads uncovered. Eboshi can be worn alone, or beneath other headgear like straw "gasa" hats and "kabuto" armored helms. Certain modifications can make eboshi more formal, especially for late period personae. They are popular in the SCA because they are protective, absorbent, and they complete "the look" without a large expenditure of time or money.

Taught at Pennsic 44 in August of A.S. 50


Please view other areas of Ishiyama's SCA pages.

Ishiyama Gen'tarou Yori'ie is known mundanely as Elliott C. Evans. He can be reached via email to ishiyama{at}ee0r.com