for its successful production (known as ) was no longer woven, Kubota was forced to experiment by himself for decades and devoted himself to reviving dyeing. Post-war In the following years, Kubota experienced a number of hardships; he had been drafted to the frontlines during the World War II, and spent three years in a prisoner-of-war camp until his demobilization at the age of 31. On his return to Japan, he set up a workshop in Tokyo and went back to dyeing. Seven years later, he finally decided to devote himself to the creation of his own technique; Kubota had found recreation of the exact technique formerly used impossible, as the fabric originally used for the technique was no longer produced. Kubota also felt that it was meaningless to cling to the past and ignore the highest-quality contemporary silk textiles and synthetic dyes that were products of the modern world. Rather than simply replicate the technique, he decided to create it in modern form, by combining his dyeing skills, modern textiles and modern dyes with the complex resist-dyeing, delicate ink painting. In recreating the technique, Kubota used (silk crepe) in place of . The panels of fabric were stitched and dyed independently, before being joined together and assembled to form the kimono. Kubota devised a new method of dyeing that produce unique richly coloured products, and he experimented with modern fabrics that would take well to the dyes and stitch-resist work. As homage to the original and its legacy, he named the technique . In 1977, when Kubota was 60 years old, he displayed his kimono for the first time in an exhibition in Tokyo. Although some traditionalists criticized Kubota for attaching the term to his work, he had a strong advocate in Tomoyuki Yamanobe, one of the most respected textile scholars of the time. Working without a preparatory draft, Kubota considered each piece as a work that revealed itself during the fabrication process. The oversized format he used for some of his creations, such as the Mount Fuji series, are similar to a canvas, with the kimono then becoming a work of art. By 1978, Kubota began to look beyond individual kimono and, instead, began to view kimono as a continuous canvas on which he could create panoramic visions permeated with light and colour. In 1979, he started working on his greatest creation, a series of 80 continuous kimono