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Although the "kimono"
seems to be the same garment that has been around for millennia,
it is not. This misconception arises from its status as National
Costume of Japan, implying ancient origins. Although it is
true that what we call "kimono" today originated
in the 7th century, it is hardly true to say it is the same
thing it was then. The long, narrow, obi-tied silhouette of
the modern kimono wasn't achieved until late in the Edo period
(17th - 19th c). The original garment from which the modern
costume derived displays obvious similarities, but no so much
that one can wear modern apparel and still be considered "Period."
This pamphlet intends to lift the misconceptions of "kimono"
and provide a source book for the construction of "kimono"
for the use of re-enactors.
To begin, the
word "ki-mono" is a modern term. It was invented
in the Meiji era (1868-1912), a time of great openness in
Japan after nearly three centuries of self-imposed seclusion.
When pressed by foreigners to name their native style of
dress, they used the word "kimono" which means
simply "thing to wear." In Japanese, it applies
to any clothing, although sometimes the hemisphere-specific
wafuku (Japanese clothes) and yofuku (Western clothes) are
used instead to prevent confusion. Within this text, I will
endeavour to use words the Japanese used to describe their
clothing throughout the ages.
Ancient
Japanese Dress
In ancient times in Japan, the Japanese Court copied Chinese
court dress. Japanese clothing from as far back as the Han
Dynasty (200 bce - 200 ce) in China greatly resembled Chinese
dress. This is not surprizing since the Japanese were known
to have established a vigorous trade with their continental
neighbours.
During the
Sui and Tang dynasties (late 6th to early 10th centuries),
Chinese culture provided a model for civilization throughout
the Far East. In the seventh century, Japan aspired to empirehood.
Previously, Japan had been a loose collection of clans.
Now it strived to become like its big sister to the West.
Clan leaders were gradually persuaded to declare fealty
to a central figure in exchange for the coloured caps and
gowns of royal rank. Clothing, shoes, hairstyles and paintings
of the period all reflect Sui and Tang styles.
The
Nara Period
During the eighth century, Chinese civility was not only
assimilated, it was reproduced in toto. Japanese tomb murals
of the late seventh century could have been Chinese. In
718, the Yoro Clothing Code instituted clothing restrictions
wholly influenced by China and explicitly based upon the
official Tang codes. (China could not have Sinified Japan
more completely had it conquered it by military force!)
The Yoro Code specified that all robes should be crossed
left over right, like the Chinese. The Chinese considered
right over left a sign of barbarism because it is easier
for right-handed people to wrap them this way. Easy, apparently,
was not chic. This left over right rule has been the convention
of kimono wrapping ever since.
The
Heian Period
The early Heian Period (specifically 894) saw the end of
diplomatic relations with China and the growth of a native
style in art, architecture, writing and fashion. Some Chinese
characters were "abbreviated" into a phonetic
Japanese script that made writing easier. This script was
referred to as "women's writing," since the men
preferred the prestige of being able to write in Chinese.
Needless to say, the first truly native poetry was written
exclusively by women. More relevant to our study, two of
the greatest Japanese works of prose, one semi-fictional
novel and one diary, were written by Heian court women in
the early 11th century. These books tell us much of what
we know about how Heian court society lived. Because the
Heian court was so taken with sensitivity to art and love
of subtle beauty, much detail is given to wardrobe: colours,
combinations, and fabric textures.
The
Kamakura period
The Heian Period was succeeded by an era of warring clans
and political/military power. This was a major change from
the Imperial rule of the previous nineteen centuries. The
Emperor made Minomoto Yoritomo Japan's first Shogun in 1192.
Unlike his succeeding Shogun, Yoritomo had to earn his title
as "general of the central army of the Emperor".
The Kamakura Bakufu (1185-1333) ushered in an age of functionality,
a direct reaction to the excesses of court life. Matter
of fact, the decadent ways of the court were so despised
that Yoritomo arrested and condemned his own brother to
sempuku because he thought that Yoshitsune had joined in
the glamour and intrigues of the court. The bakufu was headquartered
in Kamakura, a suburb of Tokyo (about 200 miles from the
Imperial Palace), precisely to keep it physically as well
as philosophically distant from the court. This starkness
is reflected in the clothing of the time which discarded
the many layers of the Heian period and resorted to pure
fuctionality.
The
Muromachi Period
The political jockeying for power of the Kamakura period
inevitably lead to a civil war which split the Emperial
household into two separate factions, a Northern and Southern
Court. The Ashikaga Shogunate seized power and supported
the illegitimate Imperial line in the North. The shogunate
became more and more influenced by the soft Court life and
and eventually, all out war ensued over a succession dispute.
This gradual return to decadance is seen in the more elaborate
dress of the period. Women ceased wearing hakama on a regular
basis and their robes reached ankle length. A number of
strange ways of wearing robes develop, including over the
head as a veil as shown left.
The
Momoyama Period
If Heian was the height of elegance, Momoyama was the epitome
of decadence. Taking a cue from the nouveau riche Toyotomi
Hideyoshi who governed the country in all but name, the
clothing of the period was typified by gaudy colour, clashing
fabrics, and abundance of gold leaf and embroidery. Not
surprizingly, the cult of beauty of the Heian court regained
popularity and the Tale of Genji again became a popular
story as well as a common motif for garment decoration.
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