Note 1. Diacritics on Romanized Indonesian words have been abbreviated because there is no sense to add them on when the general readers do not know what they mean or how they sound.


Note 2. Nene means both grandmother and grandfather in Torajan language.


Note 3. Also called sepu, it is a purse to hold betel-chewing paraphernalia. It is a part of women's formal attire. Sirih means betel leaf and nut in Indonesian language. Its heart shaped leaves appears as motifs for carvings on traditional buildings and batik dyed fabrics.


Note 4. The Toraja-Indonesia Dictionary = KAMUS TORAJA-INDONESIA, J. Tammu & Dr. H. van der Veen, 1972


Note 5. This lace looks very much like those that can be made using the l-m lace. Although the proportion may be different, the design idea seems to be the same as the insertion lace on the Sudary at the Uppsala Cathedral.


Note 6. In Mamasa, trimming the purse opening with flat braids made using l-m has been taken over by facing of tablet-woven short bands. Tablet woven bands are darned over gathered purse opening. Purse opening in this type is fixed, and does not open and close like those trimmed with braid. On later model purses l-m braid is threaded through the woven band.


Note 7. Three distinct types of the finger-held (f-h) l-m method are,

Method 1 or A-fell Method: The palms facing each other, operating with the forefingers.

Method 2 or V-fell Method: The palms facing each other, operating with the ring or small fingers.

Method 3: The palms facing down, operating with the forefingers.



Note 8. CHINA: DAWN OF GOLDEN AGE 200 B.C.-750 A.D., an exhibition held at The Metropolitan Museum of Art, NewYork, USA, Oct. 12, 2004-Jan 23, 2005.

There is a catalog with the same title with contributors; ,J. C. Y. Watt [et. al.}, publishers; New York, Metropolitan Museum; New Haven, Yale University Press, 2004.


Note 9. Milton Sonday: Independent researcher, former senior research fellow at Cooper-Hewitt National Museum of Design, Smithsonian Institution, a member of the Advisory Board of C.I.E.T.A. (Centre International D'Etude Des Textiles Anciens) in Lyons, France, a founding member of The Textile Society of America.


Note 10. Kinoshita, Masako, 'On Construction Method of a Lacy Silk Fabric Fragment from Tomb No. 1 at Ta-bou-tai Excavation Site (1974),' Journal of International Association of Costume, no. 15, 1999.


Note 11. C. Bianchi, Hilos, Tejidos y Pieles: Mundo Shuar, Serie "C." no. 3, Sucua [Ecuador]: Centro de Documentacioln, Investigacioln y Publicaciones, [1976?]


Note 12. Chizuru and Fumio Nishioka are a husband-and-wife team of armor restorers. Fumio works on all aspects of armor making except braids, which Chizuru makes. Toghter they created replicas of armor, such as this one and Armor with Red Lacing, also a national treasure, owned by Mitake Shrine, Oome, Tokyo.

Chizuru makes braids using both kute-uchi and stand-and-bobbin braiding techniques. depending on circumstances, for the replicas of the armor that her husband creates. Her works include door-pull tassels for screen sliding-doors in the 13th c. style for Fudo-do at Kongo Buji Temple, an architectural national treasure,


Note 13. Tatenashi = The armor called "Tatenasi (Unnecessary shield)" by a legend from olden days.

Note 14. Takeda family in Kai.   The family decended from one of the strong men, Shingen Takeda, flourished during the warring period in the 16th c.


Note 115. Do not confuse Methods 1, 2, and 3 used here with the three methods of operating the f-h l-m technique. Those here are three different ways for constructing Kikko braids. For more details, see: L-M BRIC News no. 7. Also M, Kinoshita, Study of Archaic BraIding Techniques in Japan, Kyoto: Kyoto Shoin, 1994, pp.


Note 16. Frieda Sorber is curator at Costume and Textile Museum at Oelegem, Belgium.