An elegant national costume that defines Japanese culture, the kimono epitomises craftsmanship and tradition. Meaning “the thing to wear”, it is wrapped left over right and secured with a sash, and became a popular attire for both sexes from the 17th century onwards.
Though it has declined in popularity in its place of origin, worldwide, the kimono has been reinvented, providing a novel vision of haute couture and revolutionising fashion trends. The V&A Dundee’s latest exhibition, Kimono: Kyoto to Catwalk, showcases how this garment has inspired craftspeople, artists, fashion designers and filmmakers over the last three centuries.
Curated by Anna Jackson, keeper of the Asia department at the V&A, the exhibition offers an astounding range of around 300 pieces, interactive displays and explanatory text that illuminate the evolution of the kimono and the considerable influence it has exerted on the world of fashion.
Tradition from Kyoto
Kyoto, the epicentre of design innovation and skilled craftwork, witnessed an explosion of textile developments that reached its peak in the Edo period (1615-1868). During this time, the role of the ruling shōgun (military commander) was represented in the impeccable kamishimo, worn by samurai warriors on formal occasions. Though it appeared basic in terms of colour and fabric, on close examination, small-scale intricate patterns decorated the material.
Women’s status too was reflected in different styles of kimono for specific occasions. In the first section of the display, early examples are presented, such as the furisode (long sleeve) kimono for unmarried women. These showcased enticing designs, which speak to complex technical skills in tie dyeing (shibori), stencil dyeing (katazome), freehand dyeing (yūzen) and silk pongee (a lightweight plain-weave fabric) weaving (tsumugi).
Special attention is given to prints in the exhibition, showing visitors how the kimono was used in different social circles. Traditional Japanese kabuki theatre was an excellent platform for flamboyant designs that reflected the female roles, often played by men, who were referred to as onnagata. Particularly interesting are the pattern books – hinagata bon – that circulated among makers and consumers, much in the same way fashion magazines are read today.
The Dutch had a crucial role in introducing and commercialising the kimono beyond Japan. As the only foreigners allowed by the ruling shōgun to trade in the country, they were the first to bring the kimono and fabrics to Europe. However, once Japan opened up to the world during the Meiji period (1868-1889), an active exchange of ideas led to a broader circulation of the kimono to Europe and the US.
It soon became a sensation and began to be seen in portraits of notable personalities, such as Amelie Matisse, wife of the French artist. This encouraged significant changes in the way dresses were constructed. For example, the kimono-inspired cut, characterised by its elegant drape and designed by London couturier Lucile (aka Lady Lucy Duff-Gordon), is a result of its influence.
Its elegance can be attributed to the fabrics and materials used in its creation. Although the kimono can be made from cotton, linen, or ramie (derived from a plant in the nettle family), the most cherished pieces were created in silk. The intrinsic qualities of this material – lightness, glossiness and its capacity to drape beautifully – made it ideal for the most exquisite designs.
Propaganda, film and fashion
In the 1930s Japan increasingly commodified its warfare propaganda. Children’s toys, school supplies and even kimonos were used to encourage the nation into a war mindset. Norakuro, a stray dog character in one of the most popular comics at the time, became the unofficial mascot for the imperial army, and was depicted in a kimono. A few examples of these developments can be found in the exhibition, intertwining warfare imagery into kimono patterns for infant boys and young men. It is quite a revelation to find that the kimono became an everyday part of war propaganda.
The kimono has also extended its reach into modern film. Much of the inspiration for Star Wars costumes came from the kimono. As a young director, George Lucas was influenced by the work of Japan’s most celebrated filmmaker Akira Kurosawa, which eventually filtered down to the costumes for the films, namely Obi-Wan Kenobi, played by Alec Guinness in the original film. When the franchise made a comeback in 2015 under JJ Abrams, costume designer Dave Crossman wanted to continue the kimono-inspired look for the characters.
It was inevitable that this exotic garment would filter into European fashion once the Dutch had introduced it. From the fine 19th-century ladies who embraced the freedom of movement and exquisite patterns of the kimono to its adoption by highly stylised 20th-century artists such as David Bowie and Björk, Anna Jackson offers visitors an experience of the kimono as a dynamic piece attire. The work of contemporary designers such as Alexander McQueen and Jōtaro Saitō, who have often explored an individual take on the kimono is a particular highlight.
For the final section, contemporary design fusions that merge materials and trends open up myriad possibilities for future explorations, such as the bold design motifs of Nigerian-born designer Duro Olowu. In doing so, this richly layered exhibition invites visitors to experience the threads of creation and connection, and witness the evolution of an iconic piece of period Japanese clothing through contemporary fashion.
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Rosanna Rios Perez does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
This article was originally published on The Conversation. Read the original article.
