Tuesday, March 10, 2015





How to use a Kimono



Kimonos are worn tightly wrapped around the body from left to right. (Only the kimonos of the dead are wrapped right over left). The actual garment is five inches longer than its wearing length, and it is drawn up and tied with a slim silk cord under the obi so that the hem is at the wearer's heels. The obi adds padding to the middle so that the body is tubular looking, the preferred silhouette in Japan. Worn with the kimono is an undergarment called a shitagi, which is simply a thin under-kimono. The juban is another undergarment, worn short by men and long for women. Its neckband, or eri, is black silk for men and made of crepe or plain silk for women.

How to put on a yukata kimono and hanhaba (half breadth) obi. 

 It stops rather abruptly but the last bit would just show that she just pulls the entire obi round so the bow sits at the centre back, then makes sure the kimono is still lying smoothly.
















Understanding the Kimono



Kimonos are traditionally made from a single bolt of fabric called a tanTan come in standard dimensions—about 36 centimetres wide and 11.5 metres long[5]—and the entire bolt is used to make one kimono. The finished kimono consists of four main strips of fabric—two panels covering the body and two panels forming the sleeves—with additional smaller strips forming the narrow front panels and collar

Traditionally, kimonos are sewn by hand; even machine-made kimonos require substantial hand-stitching. Kimono fabrics are frequently hand-made and -decorated. Techniques such as yūzen dye resist are used for applying decoration and patterns to the base cloth. Repeating patterns that cover a large area of a kimono are traditionally done with the yūzen resist technique and a stencil.
A pattern with butterflies or cherry blossoms would be worn in spring. Watery designs are common during the summer. A popular autumn motif is the russet leaf of the Japanese maple; for winter, designs may include bamboopine trees and plum blossoms.



Kimono Parts
  • Dōura : upper lining on a woman's kimono.
  • Eri : collar.
  • Fuki : hem guard.
  • Sode : sleeve below the armhole.
  • Obi : a belt used to tuck excess cloth away from the seeing public.
  • Maemigoro: front main panel, excluding sleeves. The covering portion of the other side of the back, maemigoro is divided into "right maemigoro" and "left maemigoro".
  • Miyatsukuchi : opening under the sleeve.
  • Okumi : front inside panel on the front edge of the left and right, excluding the sleeve of a kimono. Until the collar, down to the bottom of the dress goes, up and down part of the strip of cloth. Have sewn the front body. It is also called "袵".
  • Sode : sleeve.
  • Sodeguchi : sleeve opening.
  • Sodetsuke : kimono armhole.
  • Susomawashi : lower lining.
  • Tamoto : sleeve pouch.
  • Tomoeri : over-collar (collar protector).
  • Uraeri : inner collar.
  • Ushiromigoro : back main panel, excluding sleeves, covering the back portion. They are basically sewn back-centered and consist of "right ushiromigoro" and "left ushiromigoro", but for wool fabric, the ushiromigoro consists of one piece.

Women's kimono



A woman's kimono may easily exceed US$10,000; a complete kimono outfit, with kimono, undergarments, obi, ties, socks, sandals, and accessories, can exceed US$20,000.


the typical woman's kimono outfit consists of twelve or more separate pieces that are worn, matched, and secured in prescribed ways, and the assistance of licensed professional kimono dressers may be required.
Choosing an appropriate type of kimono requires knowledge of the garment's symbolism and subtle social messages, reflecting the woman's age, marital status, and the level of formality of the occasion.



Furisode literally translates as swinging sleeves—the sleeves of furisode average between 39 and 42 inches (110 cm) in length.Furisode are the most formal kimono for unmarried women, with colorful patterns that cover the entire garment. They are usually worn at coming-of-age ceremonies (seijin shiki) and by unmarried female relatives of the bride at weddings and wedding receptions
Wearing the furisode is an announcement that the women is eligible for marriage.


Houmongi is the formal kimono worn by women once they are married. It might be worn to weddings or to tea ceremonies. It often has a pattern called eba, which spreads over the kimono without appearing to be disturbed by the seams through a special method of dyeing.

Tsukesage has more modest patterns that cover a smaller area—mainly below the waist—than the more formal. They may also be worn by married women.The differences is the size of the pattern, General is often used for parties, not ceremonies.

Kurotomesode a black kimono patterned only below the waistline, are the most formal kimono for married women. They are often worn by the mothers of the bride and groom at weddings. usually have five kamon printed on the sleeves, chest and back of the kimono.

Susohiki / Hikizuri is usually worn by geisha or by stage performers of the traditional Japanese dance. It is quite long, compared to regular kimono, because the skirt is supposed to trail along the floor. Susohiki literally means "trail the skirt". Where a normal kimono for women is normally 1.5–1.6 m (4.9–5.2 ft) long, a susohiki can be up to 2 m (6.6 ft) long. This is also why geisha and maiko lift their kimono skirt when walking outside, also to show their beautiful underkimono or "nagajuban".






Men's kimono

In contrast to women's kimono, men's kimono outfits are far simpler, typically consisting of five pieces, not including footwear.
Men's kimono sleeves are attached to the body of the kimono with no more than a few inches unattached at the bottom, The typical men's kimono is a subdued, dark color; black, dark blues, greens, and browns are common. Fabrics are usually matte. Some have a subtle pattern, and textured fabrics are common in more casual kimono. More casual kimono may be made in slightly brighter colors, such as lighter purples, greens and blues. 
The most formal style of kimono is plain black silk with five kamon on the chest, shoulders and back. Slightly less formal is the three-kamon kimono.

FOR MORE INFORMATION
http://www.wafuku.co.uk/kimonoinfo5.htm
Dalby, Liza Crihfield. Kimono: Fashioning Culture. New Haven, CT: Yale University Press, 1993. Reprint, Seattle, WA: University of Washington Press, 2001.
Ho, Kenson, et al. Kimonos Unlimited: An Endless Creative Journey. Vancouver, Canada: INASO, 2000.
Kennedy, Alan. Japanese Costume: History and Tradition. New York: Rizzoli, 1990.
Kosode: 16th–19th Century Textiles from the Nomura Collection. New York: Kodansha International, 1985.
www.fashionencyclopedia.com/fashion_costume_culture/Early-Cultures-Asia/Kimono.html#ixzz3U3TSIPA4


The next section will focus on the modernization of the kimono


MEIJI period (1868–1912). 

The new government realized that the only way Japan would be able to compete with the military and industrial might of the West was to transform itself along western lines. An unprecedented period of transformation was launched that was to affect all areas of life, including clothing. It was at this point that the word 'kimono', the thing worn, was coined to define T-shaped garments as opposed to western-style ones.

Some members of the elite adopted western dress because of its association with the concepts of civilizationmodernization and progress that the Meiji government sought to promote. Dress also began to diverge along lines of place and gender as men started to wear business suits for work. 
While men usually changed into kimono when at home in the private sphere, women, who tended to inhabit only the domestic space, continued to wear kimono most of the time. Interestingly, Japan's textile industry was one of the first to adopt western science and technology. Using new techniques silk fabric was produced in greater qualities and at reasonable prices. Many women could afford to buy silk kimono for the first time and, with the end of the Tokugawa shogunate and the sumptuary laws, were not forbidden from wearing them.
The 'opening' of Japan aroused enormous interest in the West and the flood of information and goods that subsequently reached Europe and America led to a craze for all things Japanese. Kimono were exported to the West, and by the 1870s were available to buy in shops such as Liberty's in London

The kimono gradually became identified as Japan’s national dress, and at the same time became a highly sought-after fashion item in Europe and the United States, coinciding with the Japonisme craze that inspired many Western artists and designers, notably Vincent van Gogh and other Impressionists. 
The importation of Western dyes and machinery had a profound effect on the kimono industry. 
During this time, with fabrics being designed to be exhibited at World Expositions, Japan’s domestic textile industry gradually became integrated into world textile markets. The late Meiji period saw the emergence of Japanese department stores, such as Takashimaya, new advertising techniques, the rise of a largely female consumer base, and wide distribution of fashion magazines, often inspired by Western models. 


TAISHO Period (1912–1926) 

Saw great urban growth, particularly in Tokyo. The prosperity and optimism of the period is evident in the colorful and cheerful textile designs, such as a kimono ensemble with brilliant explosions of chrysanthemum blossoms. Although Western-style clothes gained popularity, the kimono continued to be every-day wear.


Industrial development was stimulated by the First World War, economic prosperity being matched by political democratisation. It was a period of great urban growth, particularly in the capital, Tokyo. Women entered the work force in large numbers, employed as typists, bank clerks, bus conductors and shop assistants. These workers were the consumers of a new mass urban culture that centred on the café, the cinema and the department store.



Although western-style clothes gained popularity among women, the kimono continued to be worn. The traditional cut of the garment remained the same, but the motifs
The motifs were dramatically enlarged and new designs appeared, sometimes inspired by Western-style painting. In creating such boldly patterned kimonos, the designers benefited from new types of silk and innovative patterning techniques, making relatively inexpensive, highly fashionable garments available to more people than ever before. These vibrant kimono styles remained popular until the 1950s.

SHOWA Period (1926–1989)

Kimono design continued to evolve in response to artistic and political upheaval at the international level.Kimonos was used for war propaganda with unique designs reflecting contemporary politics of the 1930s and 1940s. 

Over time, kimono makers evolved from nameless artisans to designated Living National Treasures, and the kimono gradually transformed from an item of every-day clothing to an exclusively ceremonial garment. 



Since the end of the Second World War western-style clothing has been the everyday wear of most Japanese. The older generation often continue to wear kimono, as do geisha, actors, and those serving in traditional restaurants or engaged in activities such the tea ceremony. Generally however, kimono are only worn at a limited number of formal occasions and there are fairly rigid guidelines about what type of garment is appropriate for what event.Kimono are also very expensive. If this limits the wearing of them, it also proclaims their high cultural value.

Kimono History



What is a Kimono?






Originally, Kimono was the Japanese word for clothing. But now, the word has been used to refer traditional Japanese clothing.
Typically color combinations represented either  seasonal colors or political class to which one belonged.


When?

HEIAN Period (794-1192)

Kimonos as we know them today came when a new  making clothing technique was developed. 
Known as  the straight-line cut method, it involved cutting pieces of fabric in straight lines and sewing them together. With this technique, Kimono maker did no have to concern themselves with the shape of the wearers  body. 





KAMAKURA Period (1192-1338) & MUROMACHI Period (1338-1573)


Men and women wore  brightly colored kimonos.
Warriors dressed in colors  representing their leaders, and sometimes the battlefield  was as gaudy as a  fashion show.


EDO Period(1603-1868)

Would be considered today as the “fashion industry”; it will focus, for example, on woodblock-printed books, and fabric merchants. 
During this period, woodblock-printed pattern books, called hinagatabon, played a crucial role in transmitting the most fashionable designs, just as fashion magazines and catalogues do today. For example: the On-hiinagata, published in 1667.

The history of Edo-period kosode fashion will also be discussed, through screens 
andukiyo-e paintings. Among the works on view will be the provocatively entitled screen Whose Sleeves (Tagasode) and a selection of elegant kosode, a type of women’s kimono with “small sleeve” openings. 

The primary consumers of sumptuous kimono were the samurai, the ruling military class.Yet it was the merchant and artisan classes, or chōnin, who benefited most from the peace and prosperity of the period.


However, the rigid hierarchy of Tokugawa Japan meant that they could not use their wealth to improve their social status. Instead they had to find different outlets for their money, such as buying beautiful clothes. It was this new market that stimulated the great flowering of the textile arts in the Edo period.
The kimono developed into a highly expressive means of personal display, an important indicator of the rising affluence and aesthetic sensibility of the chōnin. There were even fashion contests between the wives of the wealthiest merchants, who tried to outdo one another with ever more dazzling displays of splendid costume.Such excesses troubled the shogunate as they threatened to upset the strict social order and sumptuous laws that restricted the kind of fabrics, techniques and colors used by the chōnin were periodically issued.


Although the laws were not consistently enforced, leading to regular shifts between opulence and restraint, they did usher in certain changes. New techniques were developed and the use of subdued colours and fabrics became increasingly common. This was part of a new aesthetic known as iki, or elegant chic, in which anyone with real taste focused on subtle details.Those with style and money also found other ways to circumvent the rules. It became very fashionable, for example, to use the highly coveted, but forbidden,color red on undergarments and linings, for these were not covered by the restrictions.

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