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. This rich purple background compliments the pink, gold, yellow and white dyes that are used in the intricately detailed design. This kimono is so generous in length that it puddles at the feet of the wearer. The long, flowing sleeves are used to enhance a playful, coy attitude. The complete covering of the body conveys a sense of mystery and engages the viewer’s imagination. Any Maiko (apprentice Geisha) would be honored to wear such a fine example of the centuries old tradition of elegance, beauty and grace reflected in this kimono.

In response to the Shogunate Sumptuary Laws, another fashion evolution was taking place, concurrently, in Edo (Modern-day Tokyo). There was a shift, from bold hues and patterns, to subdued colors and sleek designs. Understatement was the new focus and preference. Any figures or patterns were primarily placed at, or near, the hem of the skirt. Figure 7 shows a subtle, navy blue summer kimono with images of plovers in flight rising from the bottom of the skirt. This epitomizes the sleek style of Edo. Many techniques, used to this day, were birthed from the desire to design with beauty and grace under the rigid restrictions enacted by the

Sumptuary Laws.

Geisha Sobie !7

Geisha (芸者:artist), have been present in Japanese history for over 400 hundred years, and are seen as the epitome of feminine beauty and power in Japan. During the Shogunate era, the original Geisha were men who served as court jesters to entertain the elite. Over time this form of entertainment gradually shifted from men to women, and in 1779, Geisha officially became a profession, which specifically did not include prostitution (Maltby, 2005).

Geisha were the first “career women” in Japan. This industry was run by women, for women and comprised of only women. Geisha were presented as exotic, alluring and elegant works of art. They were the guardians of ancient customs and ritual; entrusted with secrets and expected to behave with digression. Male clients, typically of the samurai and elite class, engaged them to entertain by dancing, playing musical instruments, singing and painting calligraphy. They were trained to be masters in the art of conversation and to serve with subtle grace throughout an evening.

The career of a Geisha begins at a very early age, as early as eight years old. Some girls are sent to okiya (置屋：Geisha Houses) by their parents. Others decide to leave their families behind and dedicate their lives to the profession. Fledgling Geisha are called Maiko (舞子) and sit in apprenticeship under a Geisha Mother and Elder sister. Geisha Mothers are the absolute rulers of this unique profession. Elder sisters are Geisha, with more experience, who teach their

“younger sisters” through example.

The Geisha Houses exist and function solely as a result of the money that is brought in by their “daughters”. It costs approximately $500,000 to house, educate, train and develop a single Sobie !8

Geisha. A large portion of the cost includes the many, custom kimonos that are made for each

“daughter”. Some of the best Geisha own at least two-dozen kimonos (Maltby, 2005).

Maiko typically wear hikizuri (引きずり) (Figure 8), like the furisode shown in Figure 1.

The purpose of these kimonos is to attract attention by using eye-catching bright colors with elaborate patterns and embroideries. The sleeves and obis are very long. Maiko tie their obi in overlapping designs, which accentuate their sensuality and beauty as seen in Figure 17. Their obis are also woven using elaborate colors and patterns and, if not properly coordinated, they can almost conflict with a kimono of the same decorative caliber causing visual distraction (Y.

Siffert, 88). However, when a Maiko is promoted to Geisha, her kimonos are much more subdued with subtle colors and fewer patterns. Their sleeves are also shorter in length, and their obis, which are standard length, are tied using more simple knots and bows. The graduate Maiko also changes the inner collar of the kimono from red to the white collar of a Geisha (Maltby,

2005).

Many westerners labor under the misconception that Geisha are simply high-class prostitutes. This could not be further from the truth. It is rather rare for a Geisha to have sexual relations with a client. The truth is, Geisha and prostitutes participated in an intense rivalry in the pleasure quarters. An important visual clue that separates Geisha from prostitutes is the found in the obi. Geisha have their obi tied behind their back, while prostitutes tie their obi in the front as shown in Figures 10 and 11. They (prostitutes) also adorned their hair with multiple hairpieces while Geisha used only a few (Goldstein-Gidoni, 352).

At the end of the 19th century, after the start of the Meiji Era (1868 – 1912), Geisha became the “superstars” of fashion and, due to their influence, the entire kimono industry boomed. Sobie !9

Japan’s economy and trade began to attract foreign businessmen who became desirable clients for Geisha. Demand for extraordinary kimono inspired designers to incorporate more modern, bold and dynamic colors into their kimonos. The two kimonos in Figure 10 demonstrate the use of thick bold lines, simple shapes and overlapping subtle color palettes that have nothing to do with nature or the four seasons. Kimonos also began to be mass-produced and made with

Meissen (銘仙) Silk, which dramatically reduced costs and made fashion much more accessible to the public. (Nakagawa, 1963). Meissen Silk was made from soiled Silkworm cocoons, which, previously, had been rejected. The fabric was artfully dyed to camouflage the discolorations thereby preventing waste and lowering costs.

In the 1920’s, the Jazz Age was in full swing in Japan. This was a time of easy money; more open living and “liberation” for both men and women. With it came more clubs, bars, music, dancing and expanded forms of entertainment. In addition to Jazz, モガ (Mo-Ga or “Flapper

Girls”) (Figure 11) and “Cafe Girls” became the new trend in entertainment (Milhaupt, 2014).

This amplified opportunity for outside amusement threatened the traditional life and function of the Geisha.

In 1926, twenty-five year old Emperor Hirohito declared that Geisha, who were considered the living embodiment of Japanese history, would symbolize the people of Japan. During this period, Hirohito was heavily influenced by his militant advisors to turn Japan into a military power. Over the next five years the Japanese military invaded and conquered parts of China.

Their continuing success in aggression emboldened Hirohito’s military advisors. So, when the

United States participated in an oil embargo against Japan in protest of their actions toward Sobie !10

China, the Japanese turned their aggression to the West (Martin, 220). On December 7, 1941

Japan bombed Pearl Harbor and the next day the United States entered World War II.

Geisha and WWII

As the war intensified, the Japanese people were directed to either enlist in Japan’s military or work in factories to support the war effort. Japanese women, of all ages, comprised a large part of the workforce and became the backbone of the Japanese war machine. This push also affected Geisha in the Gion District of Kyoto. Geisha houses were forced to close and the

Geisha were expected to work in the factories. All raw materials were needed for the war effort, so Geisha had to take their expensive kimonos, rip them apart at the seams and turn them into work clothes for the factories (Martin, 223). Who knew that Geisha would be the Japanese version of “Rosie the Riveter”?

When Japan surrendered to the United States in 1945 the nation had been reduced to a shadow of its former glory. The widespread destruction affected the entire population. The women, who had left their families and homes to become factory workers, returned to their

“traditional roles”. Geisha returned to the Geisha houses but their clients had essentially melted away. At this point, Emperor Hirohito encouraged the Geisha to direct their attentions to the

American military who were occupying Japan (Faiolia, 3). During this period the rivalry between Geisha and prostitutes was revived. Prostitutes took advantage of the American servicemen who were uneducated regarding Japanese traditions and customs. They disguised themselves as “Geisha Girls”, as seen in figures 12 and 13. Their kimonos were poor versions of the luxurious authentic kimono and obi that were worn by true Geisha. The prostitutes went so far as to include the honored white collar, which is the symbol of a true Geisha, in their disguise. Sobie 11!

At this point, the prostitute’s behavior tainted the graceful and mysterious image of Geisha

(Maltby, 2005).

The rise of Western Fashion

Prior to WWII, Western fashion began to filter into the lives of the Japanese elite; although the majority of the population was still wearing kimono as their daily garb (Faiolia, 4). However, after the war, Western style clothing became the fashion preference and kimonos began to fade from the garment landscape. This priceless tradition in Japanese history and culture was quickly becoming a White Elephant. The premium space, needed for kimono storage, became more important to many people than the kimono. Kimonos were primarily reserved for formal functions and traditional occasions such as Coming of Age and wedding ceremonies as seen in

Figures 14 through 16. Another consideration was the often-burdensome expense of making a new kimono; so the younger generation opted rent kimonos as needed.

Western style clothing accentuated a woman’s physical curves, even to the point that more and more skin began to be revealed as time passed (Goldstein-Gidoni, 365). There was a general departure from modesty as more revealing clothing communicated a message of provocation.

All sense of traditional style and mystery was being stripped away as kimonos were relegated to the backs of closets or given away. This was the status quo until approximately six decades later when a catastrophic event occurred that I believe revived the life of kimono.

3/11 Earthquake and Tsunami

On March 11th, 2011, around 2:30 in the afternoon, a 9.0 magnitude earthquake (the largest ever recorded in Japanese history) struck about 43 miles off the coast of the Oshika Peninsula of the Tohoku region in Northeast Japan. It generated tsunami waves (133 feet high) that covered Sobie !12 about 300 miles of Japan’s northeast coast and went inland as far as six miles. About 16,000 lives were lost, and almost 3,000 are still considered missing. To this day, it is reported that about 200,000 are still in temporary housing (Dwyer, Kenzo, Hsuan, 2012).

When the earthquake and tsunami struck tens of thousands of homes, which contained the generational history and possessions of their owners, were destroyed and everything was lost.

In my opinion, the women of the region were most affected by this event. Many wives lost their husbands and suddenly became single mothers; they lost parents, extended family and friends.

In addition, there was no way to support themselves and their surviving children. Countless towns, along a 300-mile long stretch of coastline, were completely obliterated (Nakamura, 2012).

All infrastructure, businesses, fisheries, schools and homes disappeared. Those who did survive were forced to move into the bigger cities like Sendai and Tokyo where buildings were still intact and businesses still thrived. Government and foreign aid flowed into Japan for about a year, but then tragically stopped. Media coverage on Japan also stopped about 2 months after the event.

But then, a glimmer of hope appeared.

Megumi Project and Kimono revival

In the town of Ishinomaki, in Miyagi Prefecture, a lady named Kato (who was also affected by the earthquake and tsunami) quit her job to help with disaster relief. Kato came up with a creative idea to help get her town back on its feet. She had always had a love for kimono and often collected those that were thrown away. She found many kimonos buried in the debris of the disaster and many more that had washed up along the coast. Most people would have considered these once glorious garments to be nothing more than trash. However, Kato saw beautiful potential not defeat and destruction. She began to visualize a way to restore the life of Sobie !13 these beautiful garments. Kato’s first reborn creation was an article of clothing that she called a

“Turtleback Shawl”. Kato took a kimono apart at its seams and used the fabric to create a scarf with sleeves. Figure 18 shows Ms. Kato herself wearing her original creation. She selects the sections of fabric that best showcase the elaborate designs and colors, and transforms them into these beautiful contemporary pieces.

Kato began her work, as a cottage industry, with a team of Japanese women from Onagawa.

Then, about two years ago, Kato and the team decided to birth a whole new organization and named it the “Megumi Project”. “Megumi” means “Grace/Blessing”. This organization takes kimono found throughout the disaster site, and donated kimonos from all over Japan, and remakes them into contemporary pieces for women. Megumi hires local Japanese women to cut, assemble and sew straight scarves, bags, and book covers in addition to the unique Turtleback

Shawl. Most of the ladies hired are single mothers who work while their children are in school.

I was privileged to visit Onagawa two years ago and witnessed the beginnings of Megumi. I met Kato and helped to disassemble a kimono. I observed as the ladies turned this salvaged fabric into small bags. This summer, I will be returning to Onagawa and I will have the opportunity to be part of this amazing organization. Since their official start, they have already gained a following, especially in the United States. Many Americans are truly touched by the ongoing situation in Japan and want to do all they can to help. The profit Megumi Project makes, after the ladies of Megumi are paid, goes to the town of Onagawa in an effort to restore and rebuild this devastated town. Sobie !14

The quiet, driving force behind this success is the courage, heart and strength of these

Japanese women. I believe it is a true sign of hope not only for kimono, but for the women of

Japan as well.

My Small Show: Beauty from Brokenness

For my Certificate exhibition I would like to feature kimonos in the traditional forms and functions that were customary prior to World War II, and then in its “reborn” form after 3/11.

Because I am very passionate about this subject, I want to exhibit these gorgeous pieces in a small show in the Duff Gallery at California State University Fullerton. The Duff Gallery is a cube shaped space with very tall walls. These tall expanses would be optimal, in my opinion, to showcase a variety of kimonos. I will also use mannequins to display the Megumi Project pieces.

I am fortunate to own a yukata and a Turtleback shawl, and would like to include them in my show. I will be working to procure one of the more formal kimonos such as an uchikake (bridal kimono) or a furisode with more elaborate designs. I consider myself fortunate to have a few

Japanese connections in California, and am hoping to borrow some of their treasured kimono for a short period of time. I would also like to showcase at least one obi, separately, because they are unique creations unto themselves. While in Japan this summer, I will inquire about using at least one more piece from the Megumi Project; possibly one of their handmade bags. My goal is to showcase these rescued, recycled kimonos, with minimal visual distraction, while sharing the amazing story behind their creation as the kimono transitions from traditional to contemporary; from broken to beautiful. Sobie !15

I hope that this information will inspire viewers to be more aware of, not only the continuing struggle to restore Japan, but countries throughout the world where people who have suffered similar losses and are taking objects that have been broken and restoring them to beauty. Sobie !16

Beauty from Brokenness Bibliography

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Goldstein-Gidoni, Ofra. "Kimono and the Construction of Gendered and Cultural Identities." Ethnology 38.4 (1999): 351-70. JSTOR. University of Pittsburgh- Of the Commonwealth System of Higher Education. Web. 7 Mar. 2015. .

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Martin, Richard. "Our Kimono Mind: Reflections on 'Japanese Design: A Survey Since 1950'" Journal of Design History 8.3 (1995): 215-33. JSTOR. Oxford University Press on Behalf of Design History Society. Web. 7 Mar. 2015. .

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Nakagawa, Keiichiro, and Henry Rosovsky. "The Case of the Dying Kimono: The Influence of Changing Fashions on the Development of the Japanese Woolen Industry." The Business History Review 37.1/2 (1963): 59-80. JSTOR. The President and Fellows of Harvard College. Web. 7 Mar. 2015. .

Nakamura, Fuyubi. "MEMORY IN THE DEBRIS: THE 3/11 GREAT EAST JAPAN EARTHQUAKE AND TSUNAMI." Anthropology Today 28.3 (2012): 20-23. JSTOR. Royal Anthropological Institute of Great Britain and Ireland. Web. 7 May 2015. .

Simmons, Pauline. "Artist Designers of the Tokugawa Period." The Metropolitan Museum of Art Bulletin 14.6 (1956): 133-48. JSTOR. Web. 7 Mar. 2015. .

The Secret Life of Geisha. A & E Television Networks ;, 2005. DVD.

Y. Siffert, Betty. ""Hinagata Bon": The Art Institute of Chicago Collection of Kimono Pattern Books." Art Institute of Chicago Museum Studies 18.1 (1992): 86-94 103. JSTOR. The Art Institute of Chicago. Web. 7 Mar. 2015.