Category: Kimono

It’s not enough. We have to go deeper.

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Why yes, that was indeed a reference to Inception as today’s subject line. Not only is it one of my favourite movies of the year (and possibly of all time), it is entirely relevant to the kimono I received this morning. If you’re familiar with Inception, the concept of a “dream within a dream” will be very familiar to you. So imagine someone like me, who dreams of kimono regularly, finding “kimono within kimono.”

When I first saw it on eBay I was completely smitten. It is a kurotomesode (short sleeved, five-crested black formal kimono), which is definitely something I don’t need more of. However, rather than the relatively typical celebratory designs of cranes, flowers, carts, fans, etc, the pattern on this kimono is… kimono! All around the inside and outside hem of this kimono are wooden racks with kimono out to dry, as well as bowls and tools for washing. I’ve never seen anything like it, and I knew I had to have it. It ended up going for a bit more than I’d hoped to spend, but was still well worth the investment.

Both the age and the usage of this kimono are a bit of a mystery. The design is very avante-garde and non-standard for a normal woman, and the hem is slightly padded, which weigh in the favour of it being a hikizuri of some sort. The length of the kimono is also longer than average for its apparent age, but not quite long enough to be proper hikizuri. It may have been made for a particularly short geisha, or possibly just a very stylish woman. It’s hard to say. The sleeves are lined in red, which is a typical element of Taisho and early Showa era kimono, but they are slightly shorter than average for that era. The body is also lined in white, not red, but that may have been replaced at some point during its lifespan.

Update, April 22, 2012 – Naomi recently discovered the existence of a motif known as tagasode, or “whose sleeves?”

Literally, “whose sleeves?.” Painting theme depicting beautiful kimono 着物 draped across a wooden rack, ikou 依桁. The subject was usually painted on folding screens *byoubu 屏風 and became popular in the late Momoyama and early Edo periods (16c and early 17c). Although the subject is highly decorative, the word tagasode has deep literary connotations and probably originated from a line in KOKIN WAKASHUU 古今和歌集 (905): “Iro yorimo/ka koso aware to /omohoyure/tagasode fureshi/yado no ume zomo 色よりも/香こそあはれと/おもほゆれ/誰が袖ふれし/宿の梅ぞも”. Tagasode often implies a beautiful woman whose absence is missed, since beautiful sleeves are thought to evoke the image of an elegant woman and the fragrance arising from her kimono.
In early examples, typical objects belonging to a room in the pleasure quarters or even a beautiful woman herself were depicted; a screen in the Burke Collection, New York (early 17c), includes a musical instrument, koto 琴, while two young women are painted on early 17c screens in the Nezu 根津 Museum, Tokyo. Variations on the tagasode theme became more removed from literary associations, and finally the kimono and stand remains as the only motifs depicted against gold foil background. There are many examples from the Edo period, often by unknown genre artists.

 

source – JAANUS, tagasode

Outside view
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Inside view
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Outer details
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Inner details
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It’s absolutely beautiful up close – everything is covered in tiny and delicate patterns, from the kimono to the racks holding them up. The kimono are all outlined in gold couching thread which is in impeccable condition, no drooping or detached threads anywhere that I can find.

I seem to have a knack for finding kimono that are technically kurotomesode but have characteristics that may throw them off. My chidori and matsu hybrid kimono is another prime example. As for this piece, it may be an oddity, and I may not know who wore it or when, but I love it nonetheless.

Pink Takara Houmongi

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I’m not generally attracted to pink kimono, or kimono with lots of small scattered designs. And yet somehow, this thing captivated me from the moment I saw it. The first time it was listed I forgot to bid and kicked myself repeatedly for missing out on it. I guess nobody else bid either, because a few days later it was listed again at an even lower price. I couldn’t believe my luck. I bid on it immediately so I wouldn’t forget, and hoped nobody else would bid either.

The end of the auction was coming up but I had to get to bed, so I asked Naomi‘s husband Arian to keep an eye on it for me. He decided to do so by outbidding me by 50 cents. He’s quite a goof sometimes, but a very sweet goof. In any case, I’m very grateful, because it’s absolutely gorgeous.

It’s a delicate soft salmon pink with white bokashi (fade-dyeing) around the shoulder and hem. Within the white areas, there are tiny Takara or Lucky Treasures motifs.

Takara-zukushi is a pattern of assembled “takara”, or treasures, which reflect what Japanese people consider valuable.
Needless to say, “takara” comprises of sacks of gold and magical mallets of luck. Buddhist scriptures which can give you knowledge and wisdom is a major treasure too. Counterweights are also “takara” although it may sound odd to you, because they are used as a balance when valuables are weighed. As for the rest of the treasures, “choji” (an herbal medicinal ingredient), “mino” (straw raincoat) and “kasa” (wattle hat) all symbolize something to protect oneself with against calamities and are therefore also considered “takara”.
The sense of “takara” varies by era and locality. Sometimes it comprises of locks, keys, and even ritual articles.

Trying to identify each treasure in a Takara-zukushi pattern is just like opening a jewelry box. In the mood for a treasure hunt? How about looking for interesting and unique treasures on kimonos or obis with the Takara-zukushi pattern!!

Explanation courtesy of Yamatoku.

I am hoping to be able to wear it on my birthday, and I’m going to aim for a very soft, girly, Kimono Salon-style coordination, pairing it up with the beautiful Tokaido obi I received as a gift recently.

Knowledge: Types of Kimono

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Kimono can be an overwhelming thing to get into, especially since there are so many different types of kimono. To the beginner, they may all look similar, but a basic knowledge of the types of kimono and appropriate situations for wear is always handy. I have explained this very slightly in the Kimono Terms Glossary but in this entry I will elaborate further, with photo examples, and suggestions on where to wear each type. I will be doing a similar entry about obi shortly, which will help elaborate on the types of obi mentioned in this entry. (edit: Here is the corresponding entry about obi)

Do keep in mind that as with anything in life, there are always exceptions to the rule. There exist many types of hybrid or unique kimono that can be a combination of one or more of these styles. These are the most common and standard acknowledged varieties of kimono, but if you find one that doesn’t easily fit into one of these categories, that does not necessarily mean it’s not a true kimono.

Yukata
These are the most casual and probably the most comfortable to wear. They are made of cotton and generally have fun, vibrant, all-over prints. In Japan, very casual yukata are worn in ryokan (traditional hotels), onsens (public bath houses), and around the house. These typically are white with a simple indigo print, and are usually short enough not to drag on the floor. Yukata intended for festivals are often longer, and folded at the waist, and made of a more substantial cotton with brighter and more detailed prints. These types are a great place for beginners to get into the hobby, as they are fun, funky, and require the least amount of accessories – all you need is an undershirt, bike shorts, a few cotton ties, and a narrow obi. You can wear them to festivals, fireworks, picnics, barbeques, or any other fun summer activity. Imagine anywhere you’d wear jeans and a cute t-shirt or a casual cotton sundress. Appropriate obi to wear include hanhaba (hira) obi or heko obi.
Komon
Komon are the most casual level of “real” kimono. They are characterized by all-over patterns that can be either large or small in scale. They are typically quite informal, but can be made slightly more formal with small bits of metallic print or embroidery and in a pinch can be dressed up with a slightly nicer obi. However, they’re still the most casual of kimono. Appropriate situations for wear include lunch with friends, shopping in a high-end district, a trip to a museum. Similar to a nice pair of slacks or a day dress. Komon can be paired up with a variety of obi, including nicer hanhaba obi and nagoya obi. If the kimono is quite dressy or the obi is quite casual certain fukuro obi might work, but this is rare and safer to avoid if you’re unfamiliar or uncomfortable with the rules.
Iromuji
By far the most versatile kimono in any woman’s wardrobe – think of iromuji as the “Little Black Dress” in your closet. With the right accessories they can go from running errands to a tea ceremony to the opera to the wedding of a friend. These kimono are one solid colour, but often made of very textural rinzu silk, which is woven in such a way as to have a tone-on-tone pattern. Patterns can include flowers, plants, textures, landscapes, really the possibilities are endless. Iromuji can also come with one, three, or five family crests – one crest is by far the most common. The more crests a kimono has, the more formal it becomes. A one-crested iromuji is probably the best investment you will ever make if you plan to wear kimono frequently. Due to the versatility of the kimono, many types of obi are appropriate, depending on the situation and formality. Anything from a dressy hanhaba obi, to nagoya, to fukuro are all acceptable.
Tsukesage
Tsukesage are generally a solid colour with designs in a few very specific locations – along the hem, the front panel, the sleeve, the shoulder, and the collar. They can be quite vibrant or relatively subdued, and work in a variety of situations. Dinners out, trips to the theatre. They’re good for when you want to dress up a bit and stand out, but not very formal events. Tsukesage do not come with crests, so they are not particularly appropriate for ceremonial events. Suitable obi are nagoya, and fukuro if the kimono has enough dressy elements.
Houmongi
Similar to tsukesage, but slightly more formal. Rather than having separate design elements on each panel, there is a continuous design across the entire hem and generally across the shoulders. They can also have one crest on the back, which further helps to make them a bit dressier. Houmongi are often worn to weddings, especially fancier ones in large reception halls or hotels. To me, the houmongi is the “quintessential kimono”, the kind most people picture a woman in a lovely kimono, or the kind often bought to hang on walls as art. The best obi for houmongi is usually fukuro or fukuro-nagoya, but maru obi and certain nagoya can work well too.
Furisode
Furisode actually refers to sleeve length, rather than the pattern layout. “Sode” means sleeve and “furi” means swinging. Furisode have very long, swinging sleeves. They are generally worn by young, unmarried women. Furisode can come in different pattern layouts; komon, houmongi-style, and even iromuji style. They also come in several sleeve lengths; ko-furisode – which are the shortest and can be worn almost like regular kimono, chuu-furisode (also listed as chuburisode) – which are slightly longer and generally a bit more formal, and ooburisode – the longest and generally the most formal. Kimono worn for coming-of-age day, weddings, etc, have ooburisode sleeves. Furisode also typically require fancy obi musubi (obi knots) to balance the volume and style of the sleeves, so the only proper obi to be worn with them in normal settings are fukuro or maru obi.
Irotomesode
Iro means colour, and tome-sode means short sleeves, so logically iro-tomesode would be a coloured, short-sleeved kimono. Design-wise, they have a fairly ornate continuous pattern around the hem, and nothing above the waist. They are often crested, anywhere from one to five crests, and are worn by both married and unmarried women for formal or ceremonial events. They’re not as common as they used to be, and the ones that end up on the market most often are vintage. Acceptable obi would be fukuro or maru.
Kurotomesode
Similar to irotomesode, but black. These are the most formal kimono for married women. They are worn by the mothers of the bride and groom at weddings, black-tie events, children’s graduation, etc. They are appropriate for anything celebratory or ceremonial. They show up on the secondary market quite frequently, because in modern times they are one of the most often-used kimono, as women tend to only wear them now for “big” events. Appropriate obi are fukuro or maru with celebratory motifs, usually with plenty of gold.
Kakeshita, also Hanayome
These are unique wedding kimono. They are meant to be worn trailing (see hikizuri, below) by a bride at her wedding. The overall wedding ensemble is very specialized and complicated, with many significant accessories and a specific dressing style. There are licensed salons and studios in Japan that deal solely in dressing brides for their weddings. The designs are typically very vibrant and colourful, and often have lots of flowers and cranes or other celebratory motifs. They will also generally have a lot of gold foil or couching (outline embroidery).
Uchikake
Uchikake are not what people generally think of as a kimono, they are not worn over an underrobe and tied shut with an obi. They are part of a traditional bridal ensembled, and worn trailing over the rest of the ensemble, including the kakeshita and the obi. They are more like very elaborate over-robes, and although historically they were common for the upper class and nobility, they not something that are worn in modern day in any other circumstances (aside from theatre performance). However, they do look stunning when hung on a rod as a decorative accent in the right decor.
Mofuku
Mofuku is mourning wear. This is a kimono (and obi) of solid black, worn by the family of the deceased at a funeral. A mofuku kimono will be solid black with a white lining and five white crests. These often turn up on the secondary market, but I personally believe it to be in incredibly bad taste to buy one of these and wear it for any other circumstance. These kimono were worn by people mourning the loss of someone very close to them, and the associations to the Japanese can be very negative. It’s becoming more common to see mofuku accessories (obiage, obijime) being worn with regular outfits, but the kimono itself is one of the items that I don’t think will ever escape the negative stigma. Mofuku kimono are always worn with solid black nagoya obi, black obiage and obijime, white haneri, white tabi, and black zori.
Hikizuri, also Susohiki
Hikizuri and susohiki actually refer to the way that the kimono is worn, it means basically “trailing skirt”. These kimono are worn by geisha, dancers, and other traditional stage performers. They can be nearly any of the styles listed above – komon, irotomesode, kurotomesode, etc. Maiko (apprentice geisha) wear furisode hikuzuri. Kakeshita, the wedding kimono mentioned above, are also technically hikizuri, and this is probably the only time an average woman will wear a kimono of this style. They are best purchased for collecting purposes or cosplay, not for wearing out to events.

*Thanks to Ichiroya for the permitted use of their images. Originally these items were all available for purchase and the images linked back to the sale listings, but they have been sold!!

Book Review – When Art Became Fashion: Kosode in Edo-Period Japan

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When Art Became Fashion: Kosode in Edo-Period Japan
by Dale Carolyn Gluckman & Sharon Sadako Takeda
Language: English
ISBN-10: 083480266X
Amazon.com listing
(nb: This volume may be found on eBay for significantly lower price)

I found this book while browsing the “ending soon” section on eBay. I’d never heard of it before, and wasn’t sure if it would be worth the $25 it was being sold for, so I looked it up quickly on Amazon. There was a glowing review by KimonoMomo, whose opinion I greatly respect when it comes to Japanese textiles, and the least expensive used copy available was priced at roughly $65. Based on those factors, I figured it would definitely be worth the investment. Unfortunately, I did not think to ask the seller – shopenjapan – about shipping costs from LA to Montreal, and had a bit of a case of sticker-shock when they sent me the invoice. They did everything in their power to get me the lowest price, were very patient while I tried to find an alternate shipping solution, and when the final shipping to me cost less than anticipated they refunded me the difference. In the end it was still less expensive than buying a used copy on Amazon, and the service was great. I’ll definitely buy from them again if they list similar books!

So, was it worth it? Absolutely! It is actually an illustrated museum catalogue for an exhibit of the same name, much like Kazari: Decoration and Display in Japan 15th-19th Centuries, which I reviewed earlier. It is divided into essays about many topics, from the evolution of the kosode to calligraphy as a motif to the cultural and social impact and relevance of red “beni” dye. Each essay is complemented by many lush full colour photographs and multiple page spreads, as well as smaller inserted black and white and detail shots. When I first got it, I spent several nights simply ogling the photos.

The essays themselves are written in a fairly dry academic style, but they are not difficult to read or alienating to people unfamiliar with the terminology. Any Japanese terms are italicized and explained in clear plain English the first time they make an appearance. There is a very useful glossary of terms in the background that is a huge asset to anyone interested in kimono either as wearable clothing or as historical costume, as well as many fascinating and well-organized charts and graphs documenting the flow of Japanese historical eras, common kosode pattern layouts, and garment dimensions. It is not something I’d suggest for light bedtime reading, but it makes an excellent addition to any kimono-specific or Japanese cultural reference library. Several of the kimono in the book are also in the Kyoto Shoin, Yuzen edition book, but I found this to be a good thing – it was very interesting to see that some of these garments are so historically famous and relevant that they appear in multiple texts.

The layout of the book is also very lovely, the text is clear and the images are crisp and beautiful, with vivid colours and plenty of detail shots. Captions are always large enough to be legible but small enough not to be obtrusive. There are also some very charming touches, such as the text on the first page of each section being in the shape of a kimono. This may not seem like such a big thing, but it really adds to the cohesive feel of the whole book, and as someone who studied document layout in college it really tickled me.

I would recommend this book for:


-People interested in the history of Japanese textiles.
-People studying historical fashion or evolution of fashion and trends.
-People interested in Edo-era Japan.
-People looking for beautiful photos of kimono.

I would not recommend this book for:


-People looking for how-to-wear guides.
-People looking for coordination ideas.

This post contains affiliate link(s). If you choose to purchase, I receive a small rebate or commission which goes to the continued maintenance of this site.

Kazari: Decoration and Display in Japan 15th-19th Centuries

From the Archives – Hydrangea ro komon

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Unfortunately, life’s been both hectic and humid here lately and I haven’t had many opportunities to wear kimono. Hopefully the pictures of new items and book reviews and whatnot have been interesting to you guys. I am really enjoying the book reviews and I’m really hoping to do more in the future. However, this is afterall a kimono blog and it’s about time I posted some more pictures of outfits!

These pictures are actually quite old, from when I first got the outfit, nearly two years ago. However, they are of my first (and only!) ro summer weave outfit, so I figured they might be worthwhile to share at this time of year! I was saving them because I had planned to wear this outfit again to an art exhibit I attended recently (I will be posting an entry about that soon, don’t worry!) but unfortunately the weather wasn’t cooperating, nor was the knee I injured a few days beforehand. I ended up wearing a haori with jeans and a nice top. Boo.

The kimono itself is a deep navy, with bright white and pink hydrangeas printed all over. The obi is cream and hakata weave. When I bought it, I thought it was white, but the cream is a nice contrast against the navy. The accessories are a soft pale pink, to tie in with the hydrangea. I have also since bought a pair of pink lace tabi to wear with this outfit, but have no photos yet.

Please forgive the excessive amount of bosoms going on in this outfit – at the time I was using a bright lime-green rubber datejime to flatten my bust, and there was no way of hiding it under the kimono, since it’s semi-transparent. I had to do without, and this is what the girls look like when not sufficiently strapped down.