Beauty from Brokenness

Sobie !1 Rachel Sobie 30 March 2015 Beauty from Brokenness I have long been fascinated by Japanese art, culture, and tradition. As I continue to study Japan, her language and people, I have come to the conclusion that the kimono is the symbol that is most frequently associated with, and especially epitomizes, the lifestyle, grace and character of Japanese women. The effortlessly flowing lines, beautiful fabrics and subtle femininity of a kimono present a classically appropriate facade for the women who have worn this garment for centuries. However, beneath the facade is an amazing infrastructure. We often hear the word “infrastructure” used in reference to a system of roads, bridges and buildings that are considered the necessary underlying foundation of a town, city or state. We are in visual and physical contact with infrastructure every day of our lives without consciously considering its presence, necessity, consistent function and importance. We can apply this concept when considering the impact of women in the Japanese, or any other, culture. They are the vital framework of society and frequently function, without fanfare, while contributing strength and character traits that are too numerous to list. With this in mind, I will specifically cite two cataclysmic events, separated by almost a century, and illustrate how each one affected the women of Japan, and resulted in the evolution of the kimono. I will share a brief introduction and history of the kimono and then focus on World War II, and the 3/11 Earthquake and Tsunami as events that have changed the function and presence of the kimono in Japan. Sobie !2 紹介と歴史 (Introduction and History) The kimono (着物：something to wear) is an elegant garment that compliments and gracefully enhances the wearer while always reflecting thoughtful consideration for those who will view it. It is thought that a kimono not only surrounds the body of the wearer; it also surrounds the spirit of the wearer. Kimonos reflect Japan’s rich natural beauty as demonstrated in the use of a wide variety of fabrics, which often depict seasonal landscape designs. The obi (帯：sash) is carefully chosen, and artfully tied to enhance the beauty of the kimono. These sashes often have raised embroidery and sometimes illustrate legends in Japanese history. Obi are almost ten feet long and are wound around the torso to close and stabilize the folds of a kimono as it is being placed on the wearer. The obi is secured by creating an elaborate knot in the back. The Japanese believe that the ideal female form is a straight cylindrical shape. However, since this is not a “normal” female shape, towels are often placed under the kimono and held in place by the obi to create the illusion of a straight form. This constructed cylindrical form effectively erects a mysterious boundary. The wearer is cocooned within and the viewer is invited to enjoy and imagine. The kimono may look very complex, but it is simply created by joining eight long rectangular sections of fabric. Before it is sewn, the fabric is ironed to align and tighten the weave in order to prevent future shrinkage. The thoughtful distribution of any design, or pattern, in the fabric is of prime importance in the construction of a kimono. According to Shizuka Kasano, the most visible part of the kimono is the left side of the chest, where the primary focal point should be, while the secondary focal point is below the knees (90). Sobie !3 Most Westerners do not realize that there are various types of kimono, and special rules one must follow in order to wear each one. For example, there are specific rules of style that dictate which kimono is worn by a married woman and which is worn by a single woman. A single woman wears a Furisode (振袖 :broad-sleeved kimono) on special occasions like The New Year, or the annual official coming of age ceremony. These kimono are always eye catching as shown in Figure 1. This warm, rich purple kimono is decorated and dyed with formal patterns of flowers and plants, and the sleeves are so wide and long, that when the wearer drops her hands to her sides, the sleeves almost touch the ground. In contrast, the most formal kimono for a married woman is called a Tomesode ( 留袖 :narrow-sleeved kimono). Traditionally worn at formal events, such as weddings, the Tomesode’s predominant color is black and it is graced with a luxurious design on the skirt. The Tomesode, in Figure 2, is a prime example of this tradition, as it showcases an elegant flock of cranes (Gunkaku) flying from the bottom of the skirt (symbolizing the start of a new life). The top portion of the kimono remains a warm black with only a few kamon (家紋：family crests) displayed on the upper back and the sleeves. The narrow sleeves indicate that the woman wearing this kimono is married, while the long sleeves on the Furisode demonstrate that the wearer is a single woman. It is very important to wear the appropriate kimono for each occasion and time. This includes observing many conventions that are associated with the seasons of the year. From October to May, the weather gets very cold, and kimonos with a lining are worn. From June to September when it is hot, kimonos are worn without any lining. And for the hottest days of Sobie !4 summer, there are kimonos made of gauzy silk. This light kimono not only makes the wearer feel cooler, but is also thought to comfort and cool the viewer. The history of the kimono dates back almost one thousand years. Aristocrats of that time wore garments composed of multiple layers called a Jyuunihitoe ( 十二単: 12 layered kimono). These were worn during the Heian Period (794-1185) and were impressive due to the layered mass of rich color and pattern as seen in Figure 3. This combination of rich purples and reds was a color palette that was often worn during autumn. The innermost layer, called the Kosode (小袖: small sleeves), served as an undergarment. The Kosode (Figure 6) was the precursor of kimono that are worn today (Ito, 8). During the Kamakura and Muromachi Periods (1185-1573), when Samurai became the rulers of Japan, the Kosode was promoted to outer garment status and worn by men. Ultimately it became the standard form for men and women in the Samurai class (Simmons, 145). Then in the 16th century, there was an explosion of kimono fashion. Exquisitely woven, dyed, and embroidered kimonos became the trend among women. And in time, this trend spread to wealthy merchants and courtesans (Kusano, 92). The narrow-sleeved kimono was a great hit and the entire robe became a canvas for bold and dynamic fabric compositions. This robe (Figure 7), made during the Momoyama period (1573-1603), displays a rich maroon red on its upper back, and upper sleeves. While the body and skirt dynamically illustrates a strong, elegant bamboo tree curving to the right of the wearer. Over time, the obi, which was originally a simple chord, became longer and wider and more luxurious. Fabrics chosen for obi were more colorful and often woven using intricate patterns, Sobie !5 and finished with elaborate embroidery. Various techniques of stylized wrapping and unique decorative knots evolved during the Samurai Period (1600 – 1868). The popularity of these “showy” knots was a nod to the celebrity Kabuki actors who sported them during performances. (Goldstein, 354). These artisans were expanding and bending fashion rules that recognized the elite as those who were allowed to wear such lavish styles. Figure 4 illustrates a variety of unique knots and bows that communicate each lady’s signature look. Two examples of specific finishing knots are shown in Figure 5. The Taiko (太鼓) knot, one the most common finishing knots, was fashioned to emulate a Taiko Drum. The Chou Chou Musubi (町長結び：Butterfly Knot) is more complicated and extravagant in appearance. This knot is fashioned to communicate that a young woman is single and is inviting attention. In 1683, the luxurious evolution of the kimono took a major downward turn. The Shogunate felt that the Artisans were out of control and were ignoring the social order. The angry Shogunate issued new orders (Sumptuary Laws) that enforced a prohibition against extravagant displays of luxury, which included a ban on ornate kimonos (Simmons, 140). Lavish embroidery and detailed patterns were deemed wasteful and were forbidden to all except those who were recognized as the social elite. These laws launched a new phase in life of the kimono. However, the creative soul of Japan would not be snuffed out. Necessity demanded a fabric that would be considered “acceptable” to the Shogunate and still appeal to the Japanese sense of beauty and balance. The scene was set for the birth of a new technique known as Paste Resist Dyeing, which began in Kyoto, and allowed the saga of kimono to regenerate (Milhaupt, 63). This method of dyeing allows pictures and patterns to be drawn directly onto the fabric without embroidery or Sobie !6 knot tying. The design outline is traced with a brush dipped in paste, and then dyes are applied over the paste. The paste acts as a barrier to prevent the dyes from bleeding into the pattern/ design. The fabric is washed to remove the paste and reveal the final design. The Hikizuri, shown in Figure 6, is an outstanding example of a kimono created from fabric dyed using the Paste Resist Dyeing method. It is made from the finest silk that has been expertly dyed to illustrate fans over stylized rippling water.

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