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"Kimono" in kanji
The kimono (着物, きもの) is a traditional Japanese garment. The word "kimono", which actually means a "thing to wear" (ki "wear" and mono "thing"), has come to denote these full-length robes. The standard plural of the word kimono in English is kimonos, but the unmarked Japanese plural kimono is also used. The kimono is always worn for important festivals or formal occasions. It is a formal style of clothing associated with politeness and good manners.
Kimono have T-shaped, straight-lined robes worn so that the hem falls to the ankle, with attached collars and long, wide sleeves. Kimono are wrapped around the body, always with the left side over the right (except when dressing the dead for burial) and are secured by a sash called an obi, which is tied at the back. Kimono are generally worn with traditional footwear (especially zōri or geta) and split-toe socks (tabi).
Today, kimono are most often worn by women, particularly on special occasions. Traditionally, unmarried women wore a style of kimono called furisode, with almost floor-length sleeves, on special occasions. A few older women and even fewer men still wear the kimono on a daily basis. Men wear the kimono most often at weddings, tea ceremonies, and other very special or very formal occasions. Professional sumo wrestlers are often seen in the kimono because they are required to wear traditional Japanese dress whenever appearing in public.
Chinese fashion had a huge influence on Japan from the Kofun period to the early Heian period as a result of mass immigration from the continent and a Japanese envoy to the Tang Dynasty. During Japan's Heian period (794–1192 AD), the kimono became increasingly stylized, though one still wore a half-apron, called a mo, over it. During the Muromachi age (1392–1573 AD), the Kosode, a single kimono formerly considered underwear, began to be worn without the hakama (trousers, divided skirt) over it, and thus began to be held closed by an obi "belt". During the Edo period (1603–1867 AD), the sleeves began to grow in length, especially among unmarried women, and the Obi became wider, with various styles of tying coming into fashion. Since then, the basic shape of both the men’s and women’s kimono has remained essentially unchanged. Kimonos made with exceptional skill from fine materials have been regarded as great works of art.
The formal kimono was replaced by the more convenient Western clothes and yukata as everyday wear. After an edict by Emperor Meiji, police, railroad men and teachers moved to Western clothes. The Western clothes became the army and school uniform for boys. After the 1923 Great Kantō earthquake, kimono wearers often became victims of robbery because they could not run very fast due to the restricting nature of the kimono on the body and geta clogs. The Tokyo Women's & Children's Wear Manufacturers' Association (東京婦人子供服組合) promoted Western clothes. Between 1920 and 1930 the sailor outfit replaced the undivided hakama in school uniforms for girls. The national uniform, Kokumin-fuku, a type of Western clothes, was mandated for males in 1940. Today most people wear Western clothes and wear the breezier and more comfortable yukata for special occasions.
Kimonos for men should fall approximately to the ankle without tucking. A woman's kimono has additional length to allow for the ohashori, the tuck that can be seen under the obi, which is used to adjust the kimono to the wearer. An ideally tailored kimono has sleeves that fall to the wrist when the arms are lowered.
Kimonos are traditionally made from a single bolt of fabric called a tan. Tan come in standard dimensions—about 36 centimetres wide and 11.5 metres long—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. Historically, kimonos were often taken apart for washing as separate panels and resewn by hand. Because the entire bolt remains in the finished garment without cutting, the kimono can be retailored easily to fit another person.
The maximum width of the sleeve is dictated by the width of the fabric. The distance from the center of the spine to the end of the sleeve could not exceed twice the width of the fabric. Traditional kimono fabric was typically no more than 36 centimeters (14 inches) wide. Thus the distance from spine to wrist could not exceed a maximum of roughly 68 centimeters (27 inches). Modern kimono fabric is woven as wide as 42 centimeters (17 inches) to accommodate modern Japanese body sizes. Very tall or heavy people, such as sumo wrestlers, must have kimonos custom-made by either joining multiple bolts, weaving custom-width fabric, or using non-standard size fabric.
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. Over time there have been many variations in color, fabric and style, as well as accessories such as the obi.
The kimono and obi are traditionally made of hemp, linen, silk, silk brocade, silk crepes (such as chirimen) and satin weaves (such as rinzu). Modern kimonos are widely available in less-expensive easy-care fabrics such as rayon, cotton sateen, cotton, polyester and other synthetic fibers. Silk is still considered the ideal fabric.
Customarily, woven patterns and dyed repeat patterns are considered informal. Formal kimonos have free-style designs dyed over the whole surface or along the hem. During the Heian period, kimonos were worn with up to a dozen or more colorful contrasting layers, with each combination of colors being a named pattern. Today, the kimono is normally worn with a single layer on top of one or more undergarments.
The pattern of the kimono can determine in which season it should be worn. For example, 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 bamboo, pine trees and plum blossoms.
A popular form of textile art in Japan is shibori (intricate tie dye), found on some of the more expensive kimonos and haori kimono jackets. Patterns are created by minutely binding the fabric and masking off areas, then dying it, usually by hand. When the bindings are removed, an undyed pattern is revealed. Shibori work can be further enhanced with yuzen (hand applied) drawing or painting with textile dyes or with embroidery; it is then known as tsujigahana. Shibori textiles are very time-consuming to produce and require great skill, so the textiles and garments created from them are very expensive and highly prized.
Old kimonos are often recycled in: altered to make haori, hiyoku, or kimonos for children; used to patch similar kimono; used for making handbags and similar kimono accessories; and used to make covers, bags or cases for implements, especially for sweet-picks used in tea ceremonies. Damaged kimonos can be disassembled and resewn to hide the soiled areas, and those with damage below the waistline can be worn under a hakama. Historically, skilled craftsmen laboriously picked the silk thread from old kimono and rewove it into a new textile in the width of a heko obi for men's kimono, using a recycling weaving method called saki-ori.
These terms refer to parts of a 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. A single obi may cost several thousand dollars. However, most kimonos owned by kimono hobbyists or by practitioners of traditional arts are far less expensive. Enterprising people make their own kimono and undergarments by following a standard pattern, or by recycling older kimonos. Cheaper and machine-made fabrics can substitute for the traditional hand-dyed silk. There is also a thriving business in Japan for second-hand kimonos, which can cost as little as ¥100 (about $1.25) at thrift stores in the Tokyo area. Women's obi, however, mostly remain an expensive item. Although simple patterned or plain colored ones can cost as little as ¥500(about $6), even a used obi can cost hundreds and even thousands of dollars, and experienced craftsmanship is required to make them. Men's obi, even those made from silk, tend to be much less expensive, because they are narrower, shorter and less decorative than those worn by women.
Kimonos range from extremely formal to casual. The level of formality of women's kimono is determined mostly by the pattern of the fabric, and color. Young women's kimonos have longer sleeves, signifying that they are not married, and tend to be more elaborate than similarly formal older women's kimono. Men's kimonos are usually one basic shape and are mainly worn in subdued colors. Formality is also determined by the type and color of accessories, the fabric, and the number or absence of kamon (family crests), with five crests signifying extreme formality. Silk is the most desirable, and most formal, fabric. Kimonos made of fabrics such as cotton and polyester generally reflect a more casual style.
Many modern Japanese women lack the skill to put on a kimono unaided: 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. Called upon mostly for special occasions, kimono dressers both work out of hair salons and make house calls.
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 (振袖) 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.
Hōmongi (訪問着) literally translates as visiting wear. Characterized by patterns that flow over the shoulders, seams and sleeves, hōmongi rank slightly higher than their close relative, the tsukesage. Hōmongi may be worn by both married and unmarried women; often friends of the bride will wear hōmongi at weddings (except relatives) and receptions. They may also be worn to formal parties.
Iromuji (色無地) are colored kimono that may be worn by married and unmarried women. They are mainly worn to tea ceremonies. The dyed silk may be figured (rinzu, similar to jacquard), but has no differently colored patterns. It comes from the word "muji" which means plain or solid and "iro" which means color.
Komon (小紋) means "fine pattern". The term refers to kimono with a small, repeated pattern throughout the garment. This style is more casual and may be worn around town, or dressed up with a formal obi for a restaurant. Both married and unmarried women may wear komon.
Edo komon (江戸小紋) is a type of komon characterized by tiny dots arranged in dense patterns that form larger designs. The Edo komon dyeing technique originated with the samurai class during the Edo period. A kimono with this type of pattern is of the same formality as an iromuji, and when decorated with kamon, may be worn as visiting wear (equivalent to a tsukesage or hōmongi).
Mofuku is formal mourning dress for men or women. Both men and women wear kimono of plain black silk with five kamon over white undergarments and white tabi. For women, the obi and all accessories are also black. Men wear a subdued obi and black and white or black and gray striped hakama with black or white zori.
The completely black mourning ensemble is usually reserved for family and others who are close to the deceased.
Irotomesode (色留袖) are single-color kimono, patterned only below the waistline. Irotomesode with five family crests are the same as formal as kurotomesode, and are worn by married and unmarried women, usually close relatives of the bride and groom at weddings and a medal ceremony at the royal court. An irotomesode may have three or one kamon. Those use as a semi-formal kimono at a party and conferment.
Kurotomesode (黒留袖) is a black kimono patterned only below the waistline. They are the most formal kimono for married women. They are often worn by the mothers of the bride and groom at weddings. Kurotomesode usually have five kamon printed on the sleeves, chest and back of the kimono.
Tsukesage (付け下げ) has more modest patterns that cover a smaller area—mainly below the waist—than the more formal hōmongi. They may also be worn by married women. The differences from homongi is the size of the pattern, seam connection, and not same clothes at inside and outside at hakke As demitoilet, not used in important occasion, but light patterned homongi is more highly rated than classic patterned tsukesage. General tsukesage is often used for parties, not ceremonies.
Uchikake (打掛) is a highly formal kimono worn only by a bride or at a stage performance. The uchikake is often heavily brocaded and is supposed to be worn outside the actual kimono and obi, as a sort of coat. One therefore never ties the obi around the uchikake. It is supposed to trail along the floor, this is also why it is heavily padded along the hem. The uchikake of the bridal costume is either white or very colorful often with red as the base colour.
The susohiki 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" (see below).
Jūnihitoe (十二単) is an extremely elegant and highly complex kimono that was only worn by Japanese court-ladies. The jūnihitoe consist of various layers which are silk garments, with the innermost garment being made of white silk. The total weight of the jūnihitoe could add up to 20 kilograms. An important accessory was an elaborate fan, which could be tied together by a rope when folded. Today, the jūnihitoe can only be seen in museums, movies, costume demonstrations, tourist attractions or at certain festivals. These robes are one of the most expensive items of Japanese clothing. Only the Imperial Household still officially uses them at some important functions.
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, unlike the women's style of very deep sleeves mostly unattached from the body of the kimono. Men's sleeves are less deep than women's kimono sleeves to accommodate the obi around the waist beneath them, whereas on a woman's kimono, the long, unattached bottom of the sleeve can hang over the obi without getting in the way.
In the modern era, the principal distinctions between men's kimono are in the fabric. 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. Sumo wrestlers have occasionally been known to wear quite bright colors such as fuchsia.
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.
In modern-day Japan the meanings of the layering of kimono and hiyoku are usually forgotten. Only maiko and geisha now use this layering technique for dances and subtle erotic suggestion, usually emphasising the back of the neck. Modern Japanese brides may also wear a traditional Shinto bridal kimono which is worn with a hiyoku.
Traditionally kimonos were worn with hiyoku or floating linings. Hiyoku can be a second kimono worn beneath the first and give the traditional layered look to the kimono. Often in modern kimonos the hiyoku is simply the name for the double-sided lower half of the kimono which may be exposed to other eyes depending on how the kimono is worn.
Old-fashioned kimono styles meant that hiyoku were entire under-kimono, however modern day layers are usually only partial, to give the impression of layering.
In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing. This traditional washing method is called arai hari. Because the stitches must be taken out for washing, traditional kimono need to be hand sewn. Arai hari is very expensive and difficult and is one of the causes of the declining popularity of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practiced, especially for high-end garments.
New, custom-made kimono are generally delivered to a customer with long, loose basting stitches placed around the outside edges. These stitches are called shitsuke ito. They are sometimes replaced for storage. They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment.
Like many other traditional Japanese garments, there are specific ways to fold kimono. These methods help to preserve the garment and to keep it from creasing when stored. Kimonos are often stored wrapped in paper called tatōshi.
Kimono need to be aired out at least seasonally and before and after each time they are worn. Many people prefer to have their kimono dry cleaned. Although this can be extremely expensive, it is generally less expensive than arai hari but may be impossible for certain fabrics or dyes.
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