Large Print Labels

Do not remove from gallery

KimonoKimonoKimonoKimono as as as asDressDress DressDress Dresses made from fabric, along with worn as DressesDresses made made from from kimono kimono fabric, along fabric, with along kimonos with worn kimonos as worn as coatscoats and and dressing dressing gowns, gowns, are some are of thesome earliest of theexamples earliest of examples of coats and dressing gowns, are some of the earliest examples of Dresses madeJapan’sJapan’s from influence influence kimono on Western on fabric, Western fashion. along Thisfashion. global with This interest kimonos global in the interest worn in as the kimonoJapan’s dates influence to the 1867 on world’s Western fair in fashion. Paris and This continues global to interest in the coats and dressingkimono dates gowns, to the are 1867 some world’s of fairthe in earliest Paris and examples continues to of thiskimono day. dates to the 1867 world’s fair in Paris and continues to this day. ’s influencethis day. on Western fashion. This global interest in the kimono dates to the 1867 world’s fair in Paris and continues to Kimono, approx. 1800–1868 this day. 4 JapanKimono, approx. 1800–1868 4 Edo periodKimono (1615–1868), approx. 1800–1868 (rinzu) with silk and metallic-thread embroidery 4 Japan Collection of The Kyoto Costume Institute, EQ257. Cat. 5 JapanEdo period (1615–1868) (1615–1868) KimonoDesign, approx.Silk featuring satin 1800–1868damaskwisteria, chrysanthemum, (rinzu) with silk peony, and and metallic-thread oxcart- embroidery wheelSilkCollection motifs satin damask of The Kyoto(rinzu )Costume with silk Institute and metallic-thread, EQ257. Cat. embroidery 5 4 Collection of The Kyoto Costume Institute, EQ257. Cat. 5 Japan Design featuring wisteria, chrysanthemum, peony, and oxcart- Design featuring wisteria, chrysanthemum, peony, and oxcart- Edo periodShort (1615–1868)wheel boots motifs Silk5 satin damaskwheel motifs (rinzu) with silk and metallic-thread embroidery By Christian Louboutin (French, b. 1964) CollectionChristian of The Louboutin, Kyoto Autumn/Winter Costume 2017Institute , EQ257. Cat. 5 Silk with silk embroidery and studs CollectionShort of The boots Kyoto Costume Institute, AC13496 2017-18AB Design featuringShort wisteria, boots chrysanthemum, peony, and oxcart- 5 Design featuring motifs of pine, bamboo, plum blossom, and wheel5 motifsBy Christian Louboutin (French, b. 1964) crane, inspired by a from the late Edo period (mid-1800s) ByChristian Christian Louboutin, Louboutin Autumn/Winter (French, b. 1964) 2017 ChristianSilk grosgrain Louboutin, with silk Autumn/Winter embroidery and 2017 studs SilkCollection grosgrain of The with Kyoto silk embroidery Costume Institute and studs, AC13496 2017-18AB 6 DressCollection, 1876–1878 of The Kyoto Costume Institute, AC13496 2017-18AB Short bootsTurnerDesign (Misses featuring Turner Court motifs Dress of Makers), pine, Londonbamboo, plum blossom, and BodiceDesigncrane, and overskirt: inspiredfeaturing silk by satinmotifs a textile damask of pine, from(rinzu bamboo,)the with late silk Edoand plum period blossom, (mid-1800s) and 5 metallic-threadcrane, inspired embroidery by a textile from the late Edo period (mid-1800s) By ChristianCollection Louboutin of The Kyoto (French, Costume Institute b. ,1964) AC8938 93-28-1 AB. ChristianCat. Louboutin, 4 Autumn/Winter 2017

Silk grosgrainDesignDress featuringwith , silk 1876–1878wisteria, embroidery chrysanthemum, and peony, studs and Chinese- Collection6 fan of motifsDress The Kyoto, 1876–1878 Costume Institute, AC13496 2017-18AB 6 Turner (Misses Turner Court Dress Makers), London Turner (Misses Turner Court Dress Makers), London Design featuringBodice motifs and overskirt: of pine, silk bamboo, satin damask plum (rinzu blossom,) with silk and and Bodicemetallic-thread and overskirt: embroidery silk satin damask (rinzu) with silk and crane, inspiredmetallic-threadCollection by a textileof The embroidery Kyoto from Costume the late Institute Edo period, AC8938 (mid-1800s) 93-28-1 AB. CollectionCat. 4 of The Kyoto Costume Institute, AC8938 93-28-1 AB. Cat. 4 Design featuring wisteria, chrysanthemum, peony, and Chinese- Designfan motifs featuring wisteria, chrysanthemum, peony, and Chinese- 6 Dress, 1876–1878fan motifs Turner (Misses Turner Court Dress Makers), London Bodice and overskirt: silk satin damask (rinzu) with silk and metallic-thread embroidery Collection of The Kyoto Costume Institute, AC8938 93-28-1 AB. Cat. 4

Design featuring wisteria, chrysanthemum, peony, and Chinese- fan motifs Kimono as Dress KimonoKimono as asDress Dress Dresses made from kimono fabric, along with kimonos worn as Dresses made from kimono fabric, along with kimonos worn as coats and dressing gowns, are some of the earliest examples of Dresses madecoats from and kimonodressing gowns,fabric, are along some with of the kimonos earliest examples worn as of coatsJapan’s and influence dressingJapan’sKimono on influence gowns, Western onare Western fashion. some as fashion. of This theDress globalThisearliest global interest examples interest in in the theof Japan’skimono datesinfluencekimono to the on dates 1867 Western to world’sthe 1867 fashion. world’sfair in This fairParis in global Paris and and continuesinterest continues in to theto thisDresses day. made from kimono fabric, along with kimonos worn as kimonothis day. dates to the 1867 world’s fair in Paris and continues to coats and dressing gowns, are some of the earliest examples of this day. Japan’s influence on Western fashion. This global interest in the

kimono datesKimono to the 1867, approx. world’s 1800–1868 fair in Paris and continues to Kimonothis4 day. , approx. 1800–1868 Japan 4 Kimono, approx.Edo period 1800–1868 (1615–1868) Japan Silk satin damask (rinzu) with silk and metallic-thread embroidery 4 Edo period (1615–1868)Kimono, approx. 1800–1868 Japan Collection of The Kyoto Costume Institute, EQ257. Cat. 5 Silk4 satin damask (rinzu) with silk and metallic-thread embroidery Edo period (1615–1868)Japan Collection ofDesign The Kyoto featuring Costume wisteria, Institute chrysanthemum,, EQ257. peony, Cat. and 5 oxcart- Silk satin damaskwheelEdo period motifs(rinzu (1615–1868)) with silk and metallic-thread embroidery Silk satin damask (rinzu) with silk and metallic-thread embroidery Collection of The Kyoto Costume Institute, EQ257. Cat. 5 KimonoDesign featuringCollection wisteria, asof The chrysanthemum,KyotoDress Costume Institute peony,, EQ257. and Cat. oxcart- 5 wheel motifs Design featuring wisteria, chrysanthemum, peony, and oxcart- Dresses made fromShortDesign kimono featuringboots fabric, wisteria, along with chrysanthemum, kimonos worn peony,as and oxcart- coatswheel5 and motifs dressingwheel gowns, motifs are some of the earliest examples of Japan’s influenceBy on Christian Western Louboutinfashion. This (French, global b.interest 1964) in the kimono dates to the 1867 world’s fair in Paris and continues to Christian Louboutin, Autumn/Winter 2017 this day. Short bootsSilk grosgrain with silk embroidery and studs CollectionShort boots of The Kyoto Costume Institute, AC13496 2017-18AB 5 Short boots By5 Christian Louboutin (French, b. 1964) KimonoDesignBy Christian, approx. featuring 1800–1868 Louboutin motifs (French,of pine, bamboo, b. 1964) plum blossom, and 5 Christian4 Louboutin,Christian Louboutin, Autumn/Winter Autumn/Winter 2017 2017 By ChristianJapancrane, Louboutin inspired (French, by a textile b. from 1964) the late Edo period (mid-1800s) Silk grosgrain with silk embroidery and studs Silk grosgrainEdo period with (1615–1868) silk embroidery and studs Christian Louboutin,Collection ofAutumn/Winter The Kyoto Costume 2017 Institute , AC13496 2017-18AB CollectionSilk of satin The damask Kyoto (rinzu Costume) with silk and Institutemetallic-thread, AC13496 embroidery 2017-18AB Silk grosgrainCollection with of The silk Kyoto embroidery Costume Institute ,and EQ257. studs Cat. 5 Design featuring motifs of pine, bamboo, plum blossom, and CollectionDesign ofDress The featuring Kyoto, 1876–1878wisteria, Costume chrysanthemum, Institute peony,, andAC13496 oxcart- 2017-18AB crane, inspired by a textile from the late Edo period (mid-1800s) Design featuringwheel motifs motifs of pine, bamboo, plum blossom, and crane,6 inspired by a textile from the late Edo period (mid-1800s) Design featuringTurner motifs (Misses of Turner pine, Court bamboo, Dress Makers),plum blossom, London and Bodice and overskirt: silk satin damask (rinzu) with silk and crane, inspired by a textile from the late Edo period (mid-1800s) Shortmetallic-thread boots embroidery 5 CollectionDress, 1876–1878 of The Kyoto Costume Institute, AC8938 93-28-1 AB. 6 By ChristianCat. 4 Louboutin (French, b. 1964) Dress, Christian1876–1878Turner Louboutin, (Misses Autumn/Winter Turner Court 2017 Dress Makers), London Silk grosgrainBodice withand silk overskirt: embroidery silk and satin studs damask (rinzu) with silk and CollectionDesign of The featuring Kyoto Costume wisteria, Institute chrysanthemum,, AC13496 2017-18AB peony, and Chinese- 6 Dress, 1876–1878metallic-thread embroidery Turner (Missesfan motifsTurner Court Dress Makers), London DesignCollection featuring motifs of The of pine,Kyoto bamboo, Costume plum Instituteblossom, ,and AC8938 93-28-1 AB. 6 Bodice andcrane, overskirt: inspired by a textilesilk satinfrom the damask late Edo period (rinzu (mid-1800s)) with silk and Turner (MissesCat. Turner4 Court Dress Makers), London metallic-thread embroidery Bodice and overskirt: silk satin damask (rinzu) with silk and Collection ofDesign The Kyoto featuring Costume wisteria, Institute chrysanthemum,, AC8938 peony, 93-28-1 and Chinese- AB. metallic-threadDressfan, 1876–1878 motifsembroidery Cat. 4 Collection6 of The Kyoto Costume Institute, AC8938 93-28-1 AB. Turner (Misses Turner Court Dress Makers), London Cat. 4 Bodice and overskirt: silk satin damask (rinzu) with silk and Design featuringmetallic-thread wisteria, embroidery chrysanthemum, peony, and Chinese- fan motifsCollection of The Kyoto Costume Institute, AC8938 93-28-1 AB. Design featuringCat. 4 wisteria, chrysanthemum, peony, and Chinese-

fan motifsDesign featuring wisteria, chrysanthemum, peony, and Chinese- fan motifs JapaneseJapaneseJapaneseJapanese Motifs MotifsMotifs

The fern and the iris, specifically the kakitsubata (Japanese The fern andTheThe the fern fern iris,and and the specifically iris,the specificallyiris, specifically thethe kakitsubata kakitsubata the kakitsubata (Japanese (Japanese (Japanese iris),iris), are are examples examples of Japanese of Japanese botanical botanicalmotifs that hadmotifs little that had little iris), are examples of Japanese botanical motifs that had little iris), are examplespresencepresence in ofWestern in JapaneseWestern fashion fashion prior botanical to theprior late to nineteenth motifs the late century. thatnineteenth had little century. Employedpresence by infashion Western designers fashion in Paris prior and totextile the manufacturers late nineteenth century. presence in WesternEmployed byfashion fashion prior designers to the in Paris late andnineteenth textile manufacturers century. inEmployed Lyon, these bydesigns fashion were designers taken from diverse in Paris sources, and textileincluding manufacturers Japanesein Lyon, these and designs paintings. were Western taken designers from diverse were also sources, including Employed byin fashionLyon, these designers designs were in Paris taken fromand diversetextile sources,manufacturers including interestedJapanese in Japanesetextiles objectsand paintings. such as folding Western fans and designers samurai were also in Lyon, theseJapanese designs textiles were and taken paintings. from Western diverse designers sources, were including also helmets.interested They inexplored Japanese compositional objects methods such as seen folding here infans and samurai theinterested replication in of Japanese imagery from objects Japanese such sources as folding and the fans and samurai Japanese textileshelmets. and They paintings. explored compositionalWestern designers methods seenwere here also in asymmetricalhelmets. They application explored of motifs. compositional methods seen here in interested inthe Japanese replication objects of imagery such from as Japanese folding sourcesfans and and samurai the the replication of imagery from Japanese sources and the helmets. Theyasymmetrical explored applicationcompositional of motifs. methods seen here in asymmetrical application of motifs. the replication7 of imageryCoat, approx. from 1890 Japanese sources and the asymmetrical applicationPossibly House of of motifs. Worth CashmereCoat ,, approx. silk embroidery, 1890 feathers CollectionCoat of ,The approx. Kyoto Costume 1890 Institute, Inv. AC5367 86-17-7B. 7 Cat. 7 7 Possibly House of Worth DesignPossiblyCashmere featuring House samurai-helmet twill, ofsilk Worth embroidery, (kabuto), folding-fan, feathers and cherry-blossom motifs Coat, approx.CashmereCollection 1890 twill,of The silk Kyoto embroidery, Costume feathersInstitute, Inv. AC5367 86-17-7B. CollectionCat. 7 of The Kyoto Costume Institute, Inv. AC5367 86-17-7B. 7 Cat. 7 Possibly House of Worth BallDesign gown, featuringapprox. 1888 samurai-helmet (kabuto), folding-fan, and Cashmere8 twill,Designcherry-blossom silk featuring embroidery, motifs samurai-helmet feathers (kabuto), folding-fan, and Housecherry-blossom of Rouff, Paris motifs CollectionTwo-piece of The dress; Kyoto silk satin Costume with sequins Institute and silver-thread, Inv. AC5367 86-17-7B. Cat. 7 embroidery Collection of The Kyoto Costume Institute, AC7068 92-5-3AB. Cat. 6 Ball gown, approx. 1888 Design featuringBall gownsamurai-helmet, approx. 1888 (kabuto), folding-fan, and 8 train featuring plant (possibly fern) patterns cherry-blossom8 House motifs of Rouff, Paris HouseTwo-piece of Rouff, dress; Parissilk satin with sequins and silver-thread Two-pieceembroidery dress; silk satin with sequins and silver-thread embroideryCollection of The Kyoto Costume Institute, AC7068 92-5-3AB. CollectionCat. 6 of The Kyoto Costume Institute, AC7068 92-5-3AB. Ball gownCat., approx. 6 1888 8 Brocade train featuring plant (possibly fern) patterns Brocade train featuring plant (possibly fern) patterns House of Rouff, Paris Two-piece dress; silk satin with sequins and silver-thread embroidery Collection of The Kyoto Costume Institute, AC7068 92-5-3AB. Cat. 6

Brocade train featuring plant (possibly fern) patterns Japanese Motifs

The fern andJapanese the iris, specifically the kakitsubata Motifs (Japanese iris), are examples of Japanese botanical motifs that had little The fern and the iris, specifically the kakitsubata (Japanese presence in Western fashion prior to the late nineteenth century. iris), are examples of Japanese botanical motifs that had little Employed bypresence fashion in designers Western fashion in Paris prior andto the textile late nineteenth manufacturers century. in Lyon, theseEmployed designs by were fashion taken designers from in diverseParis and sources, textile manufacturers including Japanese textilesin Lyon, and these paintings. designs were Western taken from designers diverse sources, were also including interested inJapanese Japanese textiles objects and paintings. such as Westernfolding designers fans and were samurai also interested in Japanese objects such as folding fans and samurai helmets. Theyhelmets. explored They compositionalexplored compositional methods methods seen seen here here in in the replicationthe ofreplication imagery of fromimagery Japanese from Japanese sources sources and and the the asymmetricalasymmetrical application application of motifs. of motifs.

Coat, approx. 1890 Coat7 , approx. 1890 7 Possibly House of Worth Cashmere twill, silk embroidery, feathers Possibly House of Worth Collection of The Kyoto Costume Institute, Inv. AC5367 86-17-7B. Cashmere twill,Cat. 7silk embroidery, feathers Collection of The Kyoto Costume Institute, Inv. AC5367 86-17-7B. Cat. 7 Design featuring samurai-helmet (kabuto), folding-fan, and cherry-blossom motifs

JapaneseDesign featuring samurai-helmet Motifs (kabuto), folding-fan, and cherry-blossom motifs The fern and the Balliris, specifically gown, approx. the kakitsubata 1888 (Japanese iris),8 are examples of Japanese botanical motifs that had little presence in WesternHouse fashion of Rouff, prior toParis the late nineteenth century. Employed by fashion designers in Paris and textile manufacturers Two-piece dress; silk satin with sequins and silver-thread in Lyon, these designs were taken from diverse sources, including Ball gownembroidery, approx. 1888 Japanese textiles and paintings. Western designers were also Collection of The Kyoto Costume Institute, AC7068 92-5-3AB. 8 interested in Japanese objects such as folding fans and samurai helmets.House Theyof Rouff, exploredCat. 6 Paris compositional methods seen here in theTwo-piece replication dress;of imagery silk from satin Japanese with sequins sources andand the silver-thread asymmetrical applicationBrocade trainof motifs. featuring plant (possibly fern) patterns embroidery Collection of The Kyoto Costume Institute, AC7068 92-5-3AB. Cat.7 6 Coat, approx. 1890 Possibly House of Worth Brocade Cashmeretrain featuring twill, silk embroidery, plant (possibly feathers fern) patterns Collection of The Kyoto Costume Institute, Inv. AC5367 86-17-7B. Cat. 7

Design featuring samurai-helmet (kabuto), folding-fan, and cherry-blossom motifs

8 Ball gown, approx. 1888 House of Rouff, Paris Two-piece dress; silk satin with sequins and silver-thread embroidery Collection of The Kyoto Costume Institute, AC7068 92-5-3AB. Cat. 6

Brocade train featuring plant (possibly fern) patterns JapaneseJapanese Motifs Motifs

The fern and theDay iris, specifically dress, approx. the kakitsubata 1897 (Japanese Japaneseiris),9 are examples of Japanese botanicalMotifs motifs that had little presence in WesternBy Jacques fashion priorDoucet to the(French, late nineteenth 1853–1929) century. Employed by fashion designers in Paris and textile manufacturers Doucet in Lyon, these designs were taken from diverse sources, including Day dressTwo-piece, approx. dress 1897 with belt; twill, silk satin, and silk Japanese textiles and paintings. Western designers were also with appliqué and enamel 9 interested in Japanese objects such as folding fans and samurai Collection of The Kyoto Costume Institute, AC10426 2001-1-2ACB. helmets.By Jacques They explored Doucet compositional (French, 1853–1929) methods seen here in Cat. 8 theDoucet replication of imagery from Japanese sources and the asymmetrical application of motifs. Two-piece dressAsymmetrical with belt; design wool featuring twill, silkJapanese satin, iris and (kakitsubata silk chiffon) motifs with appliquéon and the shoulders,enamel sleeves, and hem Collection7 Coat of The, approx. Kyoto 1890 Costume Institute, AC10426 2001-1-2ACB. Cat. 8 Possibly House of Worth Cashmere twill, silk embroidery, feathers Collection of The Kyoto Costume Institute, Inv. AC5367 86-17-7B. AsymmetricalCat. 7 design featuring Japanese iris (kakitsubata) motifs on the shoulders, sleeves, and hem Design featuring samurai-helmet (kabuto), folding-fan, and cherry-blossom motifs

8 Ball gown, approx. 1888 House of Rouff, Paris Two-piece dress; silk satin with sequins and silver-thread embroidery Collection of The Kyoto Costume Institute, AC7068 92-5-3AB. Cat. 6

Brocade train featuring plant (possibly fern) patterns Japanese Motifs

The fern and the iris, specifically the kakitsubata (Japanese iris), are examples of Japanese botanical motifs that had little presence in Western fashion prior to the late nineteenth century. Employed by fashion designers in Paris and textile manufacturers in Lyon, these designs were taken from diverse sources, including Japanese textiles and paintings. Western designers were also interested in Japanese objects such as folding fans and samurai helmets. They explored compositional methods seen here in the replication of imagery from Japanese sources and the asymmetrical application of motifs.

7 Coat, approx. 1890 Possibly House of Worth Cashmere twill, silk embroidery, feathers Collection of The Kyoto Costume Institute, Inv. AC5367 86-17-7B. Cat. 7

Design featuring samurai-helmet (kabuto), folding-fan, and cherry-blossom motifs

8 Ball gown, approx. 1888 House of Rouff, Paris Two-piece dress; silk satin with sequins and silver-thread embroidery Collection of The Kyoto Costume Institute, AC7068 92-5-3AB. Cat. 6

Brocade train featuring plant (possibly fern) patterns

KimonoKimono Form Form

KimonoIn the early 1900s, Form fashion houses in Paris, London, and New In the early 1900s,KimonoYork adopted fashion eclectic houses looks inForm that Paris, incorporated London, kimono and designNew York adoptedelements. eclectic These looks included that incorporated overlapping front kimono closures, design sleeves In the early 1900s,without fashiona shaped housesarmhole, inand Paris, -like London, belts and andsashes. New elements. These included overlapping front closures, sleeves York adoptedInCalled eclectic the early forme 1900s,looks japonaise fashionthat in incorporated Frenchhouses fashion in Paris, kimonomagazines, London, design and these New elements.without a shapedTheseYorkdesigns adoptedincluded armhole, were inspiredeclectic overlapping and looks notobi-like only that by front incorporatedbelts actual closures, and kimono sashes. kimono but sleeves also design by withoutCalled forme a shapedelements.kimono japonaise armhole, depicted These in French included inand ukiyo-e obi-like fashionoverlapping prints. belts magazines, front and closures, sashes. these sleeves Calleddesigns forme werewithout japonaiseinspired a shaped not in Frenchonly armhole, by fashion actualand obi-like kimonomagazines, belts butand sashes.also these by Called forme japonaise in French fashion magazines, these designskimono depictedwere inspired in ukiyo-e not only prints. by actual kimono but also by designs wereEvening inspired dress not only, approx. by actual 1910 kimono but also by kimono depictedkimono12 in depicted ukiyo-e in prints. ukiyo-e prints. By Lucy Duff-Gordon (British, 1863–1935) Lucile Ltd. Evening dressDress: silk, approx. cut , 1910 silk twill, and silk ; sash: silk twill; Eveningcorsage: lamé dress, approx. 1910 12 Evening dress, approx. 1910 By12 Lucy Duff-GordonCollection of (British,The Kyoto 1863–1935)Costume Institute, AC13153 2014-29AB. 12 Cat.By Lucy 13 Duff-Gordon (British, 1863–1935) ByLucile Lucy Ltd. Duff-GordonLucile Ltd. (British, 1863–1935) LucileDress: Ltd.silk cutDesignDress: velvet, silkin a cut silkwave-patterned velvet, twill, silk and twill, fabricsilk and organdy; featuring silk organdy; kimono sash: sash: sleeves,silk silk twill; twill; corsage: laméobi-likecorsage: sash, lamé and train Dress: silk cutCollection velvet, of silk The twill, Kyoto andCostume silk Instituteorgandy;, AC13153 sash: 2014-29AB. silk twill; Collection of The Kyoto Costume Institute, AC13153 2014-29AB. corsage: lamé Cat. 13 CollectionCat. 13 of The Kyoto Costume Institute, AC13153 2014-29AB. Cat. 13 EveningDesign in a coatwave-patterned, approx. 1913 fabric featuring kimono sleeves, Design13 in a wave-patternedobi-like sash, and train fabric featuring kimono sleeves, obi-like sash,House and trainof Amy Linker, Paris Design in a wave-patternedSilk satin and silk crepe fabric with featuring bead embroidery kimono sleeves, obi-like sash,Collection and train of The Kyoto Costume Institute, AC3775 81-8-1. Cat. 14 Evening coat, approx. 1913 13 Design featuring a pulled-back striped collar, loosely draped, Evening coatembellishedHouse, of approx. Amy with Linker, floral1913 Paris motifs Silk satin and silk crepe with bead embroidery 13 Evening coatCollection, approx. of The Kyoto1913 Costume Institute, AC3775 81-8-1. Cat. 14 13 House of Amy Linker, Paris Design featuring a pulled-back striped collar, loosely draped, HouseSilk satin of Amyand silkLinker, crepe Paris with bead embroidery embellished with floral motifs SilkCollection satin and of The silk Kyotocrepe Costume with bead Institute embroidery, AC3775 81-8-1. Cat. 14 Collection of The Kyoto Costume Institute, AC3775 81-8-1. Cat. 14 Design featuring a pulled-back striped collar, loosely draped, Designembellished featuring with afloral pulled-back motifs striped collar, loosely draped, embellished with floral motifs KimonoKimono Form Form KimonoIn the early 1900s, Form fashion houses in Paris, London, and New In the early 1900s,KimonoYork adopted fashion eclectic houses looks Formin that Paris, incorporated London, kimono and designNew York adoptedelements. eclectic These looks included that incorporated overlapping front kimono closures, design sleeves In the early 1900s,without fashiona shaped housesarmhole, inand Paris, obi-like London, belts and andsashes. New elements. These included overlapping front closures, sleeves York adoptedInCalled eclecticthe early forme 1900s,looks japonaise fashionthat in incorporated Frenchhouses fashionin Paris, kimonomagazines, London, design and these New elements.without a shapedTheseYorkdesigns adoptedincluded armhole, were eclecticinspired overlapping and looksnot obi-like only that by front incorporatedbelts actual closures, and kimono sashes. kimono but sleeves also design by withoutCalled forme a shapedelements.kimono japonaise armhole, depicted These in Frenchincluded inand ukiyo-e obi-like fashionoverlapping prints. belts magazines, front and closures, sashes. these sleeves without a shaped armhole, and obi-like belts and sashes. Calleddesigns forme were japonaiseinspired not in Frenchonly by fashionactual kimonomagazines, but also these by Called forme japonaise in French fashion magazines, these designskimono depictedwere inspired in ukiyo-e not only prints. by actual kimono but also by designs wereDress inspired, 1920–1930 not only by actual kimono but also by kimono depictedkimono14 in depicted ukiyo-e in prints. ukiyo-e prints. By Paul Poiret (French, 1879–1944) The House of Paul Poiret Dress, 1920–1930Dress and belt: silk crepe, tie-dyed, with stenciling DressCollection, 1920–1930 of The Kyoto Costume Institute, AC11551 2006-17-1AB. 14 Dress14 , 1920–1930Cat. 15 By Paul PoiretBy Paul(French, Poiret 1879–1944)(French, 1879–1944) 14 The House of Paul Poiret By Paul PoiretTheDesign (French, House inspired of Paul1879–1944) by Poiretkimono-style coats (haori), with traditional Dress and belt:Dress silk and crepe, belt: silk tie-dyed, crepe, tie-dyed, with stenciling with stenciling The House ofJapanese Paul Poiret motifs Collection ofCollection The Kyoto of The Costume Kyoto Costume Institute Institute, AC11551, AC11551 2006-17-1AB. 2006-17-1AB. Dress and belt:Cat. silk15 crepe, tie-dyed, with stenciling Cat. 15 Collection of The Kyoto Costume Institute, AC11551 2006-17-1AB. Cat. 15 DesignEvening inspired coat by, approx.kimono-style 1927 coats (haori), with traditional Design15 inspiredJapanese by kimono-style motifs coats (haori), with traditional Japanese motifsBy Gabrielle “Coco” Chanel (French, 1883–1971) Design inspired by kimono-style coats (haori), with traditional Chanel Japanese motifsSilk crepe with gold brocade

EveningCollection of coat The Kyoto, approx. Costume 1927 Institute, AC9182 94-45. Cat. 16 15 Evening coatByDesign Gabrielle, featuringapprox. “Coco” a 1927 chrysanthemum Chanel (French, motif 1883–1971) and padded cuffs Chanelresembling a kimono’s padded hem (fuki) 15 Evening coatSilk crepe, approx. with gold 1927 brocade By GabrielleCollection “Coco” ofChanel The Kyoto (French, Costume 1883–1971) Institute, AC9182 94-45. Cat. 16 15 Chanel By Gabrielle “Coco” Chanel (French, 1883–1971) Silk crepe withDesign gold featuring brocade a chrysanthemum motif and padded cuffs Chanel Collection ofresembling The Kyoto a kimono’sCostume padded Institute hem, ( AC9182fuki) 94-45. Cat. 16 Silk crepe with gold brocade Collection of The Kyoto Costume Institute, AC9182 94-45. Cat. 16 Design featuring a chrysanthemum motif and padded cuffs resembling a kimono’s padded hem (fuki) Design featuring a chrysanthemum motif and padded cuffs resembling a kimono’s padded hem (fuki) Straight Cutting StraightStraightStraight Cutting CuttingCutting Madeleine Vionnet became interested in Madeleine Vionnet became interested in kimono and MadeleineMadeleineJapanese Vionnet Vionnet prints became became while interested workinginterested in in kimonokimono and and Japanese Japanese prints whileprints working while working for the fashionkimono house and CallotJapanese Sœurs. prints while working forfor the the fashion fashion house house Callot CallotSœurs. Sœurs. Afterfor thestarting fashion her own house label Callotin 1912, sheSœurs. After startingAfter her starting own label her own in 1912,label inshe 1912, she madeAfter dresses starting with her loose-fitting own label pieces in 1912, she made dressesthatmade drapedwith dresses loose-fittingevenly overwith the loose-fitting body. pieces These pieces made dresses with loose-fitting pieces designsthat draped illustrate evenly Vionnet’s over departure the body. from These that draped thatevenly draped over evenly the overbody. the These body. These traditionaldesigns Westernillustrate garment Vionnet’s construction, departure from designs illustratewhichdesigns was Vionnet’s illustratetailored to fitVionnet’s departurethe body’s departure from from traditional Western garment construction, traditional Westerncontours.traditional The garment Western“Henriette” garment eveningconstruction, dress construction, displayedwhich was here tailoredwas constructed to fit thewithout body’s which was tailored to fit the body’s which was tailoreddarts,contours. making to Thethe fit garment “Henriette”the body’s deliberately evening dress contours. The “Henriette” evening dress contours. Theloosedisplayed “Henriette” around thehere midriff. was evening constructedThe dress dress is without madedisplayed of fifty-six here T-shaped was constructed pieces of gold without darts, making the garment deliberately displayed hereanddarts, silver was making fabric constructed sewn the ingarment the traditional without deliberately Japaneseloose around pattern shownthe midriff. at the right. The dress is loose around the midriff. The dress is darts, makingmade the ofgarment fifty-six T-shaped deliberately pieces of gold made of fifty-six T-shaped pieces of gold loose aroundand the silver midriff. fabric sewnThe indress the traditionalis and silver fabric sewn in the traditional made of fifty-sixJapanese T-shapedWedding pattern dress piecesshown, 1922 at of the gold right. 16Japanese pattern shown at the right. and silver fabric sewnBy Madeleine in the Vionnet traditional (French, 1876–1975) Vionnet Japanese pattern shownSilk faille withat silkthe right. embellishments CollectionWedding of The Kyoto dress Costume, 1922 Institute, AC7007 91-15-3A. Cat. 17 Wedding dress, 1922 16 Straight-cut design with a puffed bow at the back and rose 16 embellishmentsBy Madeleine by Albert Vionnet Lesage (French,on the train 1876–1975) ByVionnet Madeleine Vionnet (French, 1876–1975) WeddingVionnet Silkdress faille with, 1922 silk tulle embellishments

SilkCollection faille with of The silk Kyoto tulle embellishmentsCostume Institute, AC7007 91-15-3A. Cat. 17 16 EveningCollection dress of “Henriette” The Kyoto Costume Institute, AC7007 91-15-3A. Cat. 17 17By Madeleine Vionnet (French, 1876–1975) By MadeleineStraight-cut Vionnet design (French, with 1876–1975) a puffed bow at the back and rose Vionnet Vionnet,Straight-cutembellishments Winter 1923 design by Albertwith a puffedLesage onbow the at trainthe back and rose Silk failleGold withembellishments and silk silver tulle lamé plain embellishments by weave, Albert pieced Lesage on the train Collection of The Kyoto Costume Institute, AC6819 90-25A, Gift of CollectionMr. of Martin The Kamer Kyoto. Cat. Costume 18 Institute, AC7007 91-15-3A. Cat. 17

Design Evening featuring a flatdress geometric “Henriette” patchwork pattern of interlocking Straight-cut17 T shapes Eveningdesign with dress a puffed “Henriette” bow at the back and rose embellishments17 By Madeleine by Albert Vionnet Lesage (French, 1876–1975) ByVionnet, Madeleine Winter Vionnet 1923 (French, 1876–1975) Vionnet,Gold and Winter silver lamé1923 plain weave, pieced Gold and silver lamé plain weave, pieced Collection of The Kyoto Costume Institute, AC6819 90-25A, Gift of CollectionMr. Martin of Kamer The Kyoto. Cat. Costume18 Institute, AC6819 90-25A, Gift of Evening dressMr. Martin “Henriette” Kamer. Cat. 18 17 Design featuring a flat geometric patchwork pattern of interlocking Design featuring a flat geometric patchwork pattern of interlocking By MadeleineT shapesVionnet (French, 1876–1975) T shapes Vionnet, Winter 1923 Gold and silver lamé plain weave, pieced Collection of The Kyoto Costume Institute, AC6819 90-25A, Gift of Mr. Martin Kamer. Cat. 18

Design featuring a flat geometric patchwork pattern of interlocking T shapes Straight Cutting

Madeleine Vionnet became interested in kimono and JapaneseStraight prints while workingCutting for the fashion house Callot Sœurs. After startingMadeleine her own Vionnet label inbecame 1912, interestedshe in kimono and Japanese prints while working made dresses with loose-fitting pieces for the fashion house Callot Sœurs. that draped evenlyAfter starting over her the own body. label These in 1912, she designs illustratemade dressesVionnet’s with departure loose-fitting frompieces traditional Westernthat draped garment evenly over construction, the body. These designs illustrate Vionnet’s departure from which was tailored to fit the body’s traditional Western garment construction, contours. Thewhich “Henriette” was tailored evening to fit the dress body’s displayed herecontours. was constructed The “Henriette” without evening dress darts, makingdisplayed the garment here was deliberately constructed without loose arounddarts, the midriff.making the Thegarment dress deliberately is loose around the midriff. The dress is made of fifty-sixmade T-shaped of fifty-six T-shapedpieces ofpieces gold of gold and silver fabricand silver sewn fabric in the sewn traditional in the traditional Japanese patternJapanese shown pattern at shown the right. at the right.

Wedding dress, 1922 Wedding16 dress, 1922 16 By Madeleine Vionnet (French, 1876–1975) Vionnet By Madeleine Vionnet (French, 1876–1975) Silk faille with silk tulle embellishments Vionnet Collection of The Kyoto Costume Institute, AC7007 91-15-3A. Cat. 17 Silk faille with silk tulle embellishments Collection ofStraight-cut The Kyoto design Costume with a Institutepuffed bow, AC7007 at the back 91-15-3A. and rose Cat. 17 embellishments by Albert Lesage on the train

StraightStraight-cut design withCutting a puffed bow at the back and rose embellishments by Albert Lesage on the train Madeleine VionnetEvening became interesteddress “Henriette” in kimono17 and Japanese prints while working for the fashion houseBy Madeleine Callot Sœurs. Vionnet (French, 1876–1975) After starting her own label in 1912, she Vionnet, Winter 1923 made dresses with loose-fitting pieces Evening dressGold and “Henriette”silver lamé plain weave, pieced that draped evenly over the body. These Collection of The Kyoto Costume Institute, AC6819 90-25A, Gift of 17 designs illustrate Vionnet’s departure from traditionalBy Madeleine WesternMr. Vionnetgarment Martin Kamer construction, (French,. Cat. 181876–1975) whichVionnet, was tailored Winter to 1923fit the body’s contours. The “Henriette”Design featuring evening adress flat geometric patchwork pattern of interlocking displayedGold and here silver wasT shapes constructed lamé plain without weave, pieced darts,Collection making theof Thegarment Kyoto deliberately Costume Institute, AC6819 90-25A, Gift of looseMr. Martinaround the Kamer midriff.. Cat. The dress18 is made of fifty-six T-shaped pieces of gold and silver fabric sewn in the traditional JapaneseDesign patternfeaturing shown a atflat the geometric right. patchwork pattern of interlocking T shapes 16 Wedding dress, 1922 By Madeleine Vionnet (French, 1876–1975) Vionnet Silk faille with silk tulle embellishments Collection of The Kyoto Costume Institute, AC7007 91-15-3A. Cat. 17

Straight-cut design with a puffed bow at the back and rose embellishments by Albert Lesage on the train

17 Evening dress “Henriette” By Madeleine Vionnet (French, 1876–1975) Vionnet, Winter 1923 Gold and silver lamé plain weave, pieced Collection of The Kyoto Costume Institute, AC6819 90-25A, Gift of Mr. Martin Kamer. Cat. 18

Design featuring a flat geometric patchwork pattern of interlocking T shapes FlatnessFlatnessFlatnessFlatness Since founding his studio in 1970, Issey Miyake has explored SinceSince founding founding his studio his studio in 1970, in Issey 1970, Miyake Issey has Miyake explored has explored Since foundingmethodsmethods his of studio ofcreating creating clothingin 1970,clothing from Issey a singlefrom Miyakepiecea single of cloth— piecehas exploredof cloth— aaFlatnessmethods concept he ofhe calls creating calls “A Piece “A clothingPiece of Cloth,” of from Cloth,”Ichimai a nosingle Ichimai nuno inpiece no nuno of cloth— in methods of creating clothing from a single piece of cloth— Japanese.Japanese.a concept Two Two he of callsthese of these methods“A Piece methods are of seen Cloth,” are in these seen Ichimai examples in these no nunoexamples in a concept heand calls demonstrate “A Piece the relationship of Cloth,” between Ichimai the flat garment no nuno in a concept heSinceJapanese. calls founding “A TwoPiece ofhis these ofstudio Cloth,” methods in 1970, Ichimai are Issey seen Miyake no in thesenuno has examples exploredin andand thedemonstrate three-dimensional the relationshipbody. between the flat garment Japanese. Twoandmethodsand ofthe demonstrate these three-dimensional of creating methods the clothing relationship are body. fromseen betweena insingle these piecethe examplesflat of garment cloth— and demonstrateaand concept the the three-dimensional herelationship calls “A Piece between body. of Cloth,” the Ichimai flat nogarment nuno in and the three-dimensionalJapanese.Dress Two of body.these methods are seen in these examples and18 demonstrate the relationship between the flat garment By IsseyDress Miyake (Japanese, b. 1938) and Reality Lab and18 the three-dimensional132 5.Dress ISSEY MIYAKE, Spring/Summer body. 2011 Recycled plain weave with printing By Issey Miyake (Japanese, b. 1938) and Reality Lab 18 Collection of The Kyoto Costume Institute, AC12463 2010-28-4. Cat. 21 Dress 132By 5. Issey ISSEY Miyake MIYAKE, (Japanese, Spring/Summer b. 1938) and 2011 Reality Lab Dress DesignRecycled132 featuring 5. ISSEY polyester black MIYAKE, fold lines plain and Spring/Summer weave flat construction with printing 2011 Dress 18 CollectionRecycled ofpolyester The Kyoto plain Costume weave Institutewith printing, AC12463 2010-28-4. Cat. 21 By18 Issey MiyakeCollection (Japanese, of The Kyoto b. 1938) Costume and Institute Reality, AC12463 Lab 2010-28-4. Cat. 21 By Issey MiyakeBy Issey (Japanese, Miyake (Japanese, b. 1938) b. and 1938) Reality and Reality Lab Lab 132 5. ISSEYDressDesign MIYAKE, featuring Spring/Summer black fold lines and 2011 flat construction 132Design 5. ISSEY featuring MIYAKE, black Spring/Summer fold lines and flat 2011 construction Recycled19 polyester plain weave with printing Recycled Bypolyester IsseyRecycled Miyake plain (Japanese,polyester weave b.plain 1938) with weave and Realityprinting with Lab printing Collection132 of 5. CollectionThe ISSEY Kyoto MIYAKE, of TheCostume Spring/Summer Kyoto Costume Institute 2011 Institute, AC12463, AC12463 2010-28-4. 2010-28-4. Cat. Cat. 2121 Recycled polyester plain weave with printing CollectionDress of The Kyoto Costume Institute, AC12462 2010-28-3. Cat. 20 DesignDress featuring black fold lines and flat construction Design19 featuring black fold lines and flat construction 19 DesignBy featuringIssey Miyake black fold (Japanese, lines and flat b. construction 1938) and Reality Lab 132By 5. Issey ISSEY Miyake MIYAKE, (Japanese, Spring/Summer b. 1938) and 2011 Reality Lab Recycled132 5. ISSEY polyester MIYAKE, plain Spring/Summer weave with printing 2011 DressCollectionDressRecycled ofpolyester The Kyoto plain Costume weave Institutewith printing, AC12462 2010-28-3. Cat. 20 20Dress19 Collection of The Kyoto Costume Institute, AC12462 2010-28-3. Cat. 20 Dress By YoshiyukiBy Issey Miyamae Miyake (Japanese, (Japanese, b. 1976) b. 1938) and Reality Lab ISSEYDesign MIYAKE, featuring Autumn/Winter black 2014fold lines and flat construction 19 132Design 5. ISSEY featuring MIYAKE, black Spring/Summer fold lines and flat 2011 construction 19 Polyester/triacetate/polyurethane-blend jacquard, pleated By Issey Miyake (Japanese, b. 1938) and Reality Lab By Issey MiyakeCollectionRecycled of(Japanese, The polyester Kyoto Costume b.plain 1938)Institute weave, AC13135and with Reality printing2014-21-3A. Lab Cat. 23 132 5. ISSEYCollection MIYAKE, of Spring/SummerThe Kyoto Costume Institute2011 , AC12462 2010-28-3. Cat. 20 Design using the 3D Steam Stretch technique and featuring flat Recycled constructionpolyesterDress plain weave with printing DesignDress featuring black fold lines and flat construction 20Collection of The Kyoto Costume Institute, AC12462 2010-28-3. Cat. 20 20 By Yoshiyuki Miyamae (Japanese, b. 1976) ISSEYBy Yoshiyuki MIYAKE, Miyamae Autumn/Winter (Japanese, 2014 b. 1976) Dress Design featuringPolyester/triacetate/polyurethane-blendISSEY black MIYAKE, fold Autumn/Winter lines and flat 2014 construction jacquard, pleated 21 Dress By YoshiyukiCollectionPolyester/triacetate/polyurethane-blend Miyamae of The (Japanese, Kyoto Costume b. 1976) Institute, jacquard, AC13135 2014-21-3A.pleated Cat. 23 20 ISSEYCollection MIYAKE, Autumn/Winter of The Kyoto 2014 Costume Institute, AC13135 2014-21-3A. Cat. 23 Polyester/triacetate/polyurethane-blendBy Yoshiyuki Miyamae (Japanese, jacquard, b. pleated1976) Design using the 3D Steam Stretch technique and featuring flat CollectionISSEY of TheMIYAKE, Kyoto Costume Autumn/Winter Institute, AC13137 2014 2014-21-5B. Cat. 22 constructionDesign using the 3D Steam Stretch technique and featuring flat Polyester/triacetate/polyurethane-blend jacquard, pleated Dress Designconstruction using the 3D Steam Stretch technique and featuring flat 20 constructionCollection of The Kyoto Costume Institute, AC13135 2014-21-3A. Cat. 23 By Yoshiyuki Miyamae (Japanese, b. 1976) By Yoshiyuki DesignMiyamae using (Japanese, the 3D Steam b. Stretch 1976) technique and featuring flat ISSEY MIYAKE,Dress Autumn/Winter 2014 ISSEY MIYAKE,constructionDress Autumn/Winter 2014 Polyester/triacetate/polyurethane-blend21 jacquard, pleated Polyester/triacetate/polyurethane-blend21 By Yoshiyuki Miyamae (Japanese, b.jacquard, 1976) pleated Collection ofISSEY ByThe Yoshiyuki KyotoMIYAKE, CostumeMiyamae Autumn/Winter (Japanese, Institute 2014 ,b. AC13135 1976) 2014-21-3A. Cat. 23 Polyester/triacetate/polyurethane-blendISSEY MIYAKE, Autumn/Winter 2014 jacquard, pleated CollectionDressPolyester/triacetate/polyurethane-blend of The Kyoto Costume Institute, jacquard, AC13137 2014-21-5B. pleated Cat. 22 Design using the 3D Steam Stretch technique and featuring flat 21 Collection of The Kyoto Costume Institute, AC13137 2014-21-5B. Cat. 22 constructionBy Yoshiyuki Miyamae (Japanese, b. 1976) constructionDesign using the 3D Steam Stretch technique and featuring flat ISSEY MIYAKE, Autumn/Winter 2014 constructionDesign using the 3D Steam Stretch technique and featuring flat Polyester/triacetate/polyurethane-blendconstruction jacquard, pleated Collection of The Kyoto Costume Institute, AC13137 2014-21-5B. Cat. 22

Dress Design using the 3D Steam Stretch technique and featuring flat 21 construction By Yoshiyuki Miyamae (Japanese, b. 1976) ISSEY MIYAKE, Autumn/Winter 2014 Polyester/triacetate/polyurethane-blend jacquard, pleated Collection of The Kyoto Costume Institute, AC13137 2014-21-5B. Cat. 22

Design using the 3D Steam Stretch technique and featuring flat construction Flatness Flatness Since foundingFlatness his studio in 1970, Issey Miyake has explored methods of creating clothing from a single piece of cloth— Since founding his studio in 1970, Issey Miyake has explored a concept he calls “A Piece of Cloth,” Ichimai no nuno in methods of creatingSince founding clothing his studio from in a 1970,single Issey piece Miyake of hascloth— explored Japanese. Two of these methods are seen in these examples a concept hemethods calls “A of Piece creating of clothing Cloth,” from Ichimai a single no piece nuno of incloth— and demonstrateFlatnessa concept the relationshiphe calls “A Piece between of Cloth,” the Ichimai flat nogarment nuno in Japanese. Two of these methods are seen in these examples and the three-dimensionalJapanese. Two of body. these methods are seen in these examples and demonstrate the relationship between the flat garment Sinceand demonstrate founding his the studio relationship in 1970, betweenIssey Miyake the flat has garment explored and the three-dimensionalmethodsand the three-dimensional of creating body. clothing body. from a single piece of cloth— a concept he calls “A Piece of Cloth,” Ichimai no nuno in DressJapanese. Two of these methods are seen in these examples 18 and demonstrateDress the relationship between the flat garment ByDressand18 Issey the three-dimensional Miyake (Japanese, body. b. 1938) and Reality Lab By Issey Miyake (Japanese, b. 1938) and Reality Lab 18 132 5. ISSEY MIYAKE, Spring/Summer 2011 By Issey Miyake132 5. (Japanese, ISSEY MIYAKE, b. 1938)Spring/Summer and Reality 2011 Lab Recycled polyesterRecycled plain polyester weave plain with weave printing with printing Collection132 5. ISSEY of Dress CollectionTheMIYAKE, Kyoto of Spring/Summer TheCostume Kyoto Costume Institute 2011Institute, AC12463, AC12463 2010-28-4. 2010-28-4. Cat. Cat. 21 Recycled18 polyester plain weave with printing ByDesign Issey featuring Miyake (Japanese,black fold lines b. 1938) and andflat constructionReality Lab DesignCollection featuring of The blackKyoto foldCostume lines andInstitute flat ,construction AC12463 2010-28-4. Cat. 21 132 5. ISSEY MIYAKE, Spring/Summer 2011 Recycled polyester plain weave with printing Design featuringCollection black of foldThe Kyoto lines Costume and flat Institute construction, AC12463 2010-28-4. Cat. 21 Dress Dress19 Design featuring black fold lines and flat construction By Issey Miyake (Japanese, b. 1938) and Reality Lab 19 132 5. ISSEY MIYAKE, Spring/Summer 2011 ByDress Issey MiyakeRecycled (Japanese, polyester b.plain 1938) weave and with Reality printing Lab 19 132 5. ISSEYDress CollectionMIYAKE, of Spring/Summer The Kyoto Costume 2011Institute, AC12462 2010-28-3. Cat. 20 RecycledBy19 Issey Miyake polyester (Japanese, plain weave b. 1938) with printingand Reality Lab 132 5. ISSEYBy DesignMIYAKE, Issey featuring Miyake Spring/Summer (Japanese,black fold lines b. 1938) and2011 andflat constructionReality Lab Collection of 132The 5. KyotoISSEY CostumeMIYAKE, Spring/Summer Institute, AC12462 2011 2010-28-3. Cat. 20 Recycled polyester plain weave with printing FlatnessRecycled polyester plain weave with printing DesignCollection featuring of CollectionThe blackKyoto of foldTheCostume Kyoto lines Costume andInstitute flat Institute ,construction AC12462, AC12462 2010-28-3. 2010-28-3. Cat. Cat. 20 Since founding hisDress studio in 1970, Issey Miyake has explored methodsDesign20 offeaturing creatingDesign clothing black featuring foldfrom black alines single fold and piece lines flat ofand constructioncloth— flat construction a concept he callsBy “A Yoshiyuki Piece of Miyamae Cloth,” Ichimai (Japanese, no nuno b. 1976)in Japanese. Two ofISSEY these MIYAKE,methods areAutumn/Winter seen in these 2014 examples andDress demonstratePolyester/triacetate/polyurethane-blend the relationship between the flat garment jacquard, pleated and the three-dimensional body. 20 DressCollection of The Kyoto Costume Institute, AC13135 2014-21-3A. Cat. 23 20ByDress Yoshiyuki Miyamae (Japanese, b. 1976) ByDesign Yoshiyuki using Miyamaethe 3D Steam (Japanese, Stretch b. technique 1976) and featuring flat 20 ISSEY MIYAKE,DressISSEYconstruction Autumn/Winter MIYAKE, Autumn/Winter 2014 2014 By18 Yoshiyuki Miyamae (Japanese, b. 1976) Polyester/triacetate/polyurethane-blendBy IsseyPolyester/triacetate/polyurethane-blend Miyake (Japanese, b. 1938) and Reality jacquard, Lab jacquard, pleated pleated CollectionISSEY MIYAKE,132 of 5. CollectionThe ISSEY Autumn/Winter Kyoto MIYAKE, of TheCostume Spring/Summer Kyoto Costume 2014Institute 2011 Institute, AC13135, AC13135 2014-21-3A. 2014-21-3A. Cat. Cat. 23 Polyester/triacetate/polyurethane-blendRecycled polyester plain weave with printing jacquard, pleated Collection of The Kyoto Costume Institute, AC12463 2010-28-4. Cat. 21 Collection of DesignDressThe Kyoto using Costumethe 3D Steam Institute Stretch, techniqueAC13135 and 2014-21-3A. featuring flat Cat. 23 Design usingconstruction the 3D Steam Stretch technique and featuring flat 21 Design featuring black fold lines and flat construction construction By Yoshiyuki Miyamae (Japanese, b. 1976) Design usingISSEY the 3D MIYAKE, Steam Autumn/Winter Stretch technique 2014 and featuring flat construction Polyester/triacetate/polyurethane-blend jacquard, pleated Dress 19 DressCollection of The Kyoto Costume Institute, AC13137 2014-21-5B. Cat. 22 21 By Issey Miyake (Japanese, b. 1938) and Reality Lab Dress 132 5.ByDesign ISSEY Yoshiyuki MIYAKE, using Miyamaethe Spring/Summer 3D Steam (Japanese, 2011Stretch b. technique 1976) and featuring flat Recycled polyester plain weave with printing ISSEYconstruction MIYAKE, Autumn/Winter 2014 21 Collection of The Kyoto Costume Institute, AC12462 2010-28-3. Cat. 20 ByDress Yoshiyuki Polyester/triacetate/polyurethane-blendMiyamae (Japanese, b. 1976) jacquard, pleated DesignCollection featuring blackof The fold Kyoto lines and Costume flat construction Institute, AC13137 2014-21-5B. Cat. 22 21 ISSEY MIYAKE, Autumn/Winter 2014 By Yoshiyuki Miyamae (Japanese, b. 1976) Polyester/triacetate/polyurethane-blendDesign using the 3D Steam Stretch jacquard, technique andpleated featuring flat ISSEY MIYAKE, Autumn/Winter 2014 CollectionDress of constructionThe Kyoto Costume Institute, AC13137 2014-21-5B. Cat. 22 20Polyester/triacetate/polyurethane-blend jacquard, pleated CollectionBy of Yoshiyuki The Kyoto Miyamae Costume (Japanese, b. Institute 1976) , AC13137 2014-21-5B. Cat. 22 Design usingISSEY the MIYAKE, 3D Autumn/WinterSteam Stretch 2014 technique and featuring flat constructionPolyester/triacetate/polyurethane-blend jacquard, pleated Design usingCollection the of3D The SteamKyoto Costume Stretch Institute technique, AC13135 2014-21-3A. and Cat.featuring 23 flat constructionDesign using the 3D Steam Stretch technique and featuring flat construction

21 Dress By Yoshiyuki Miyamae (Japanese, b. 1976) ISSEY MIYAKE, Autumn/Winter 2014 Polyester/triacetate/polyurethane-blend jacquard, pleated Collection of The Kyoto Costume Institute, AC13137 2014-21-5B. Cat. 22

Design using the 3D Steam Stretch technique and featuring flat construction KimonoKimonoKimono Silhouette Silhouette SilhouetteSilhouette These three examples of high fashion show the influence of TheseThese three three examples examples of high of fashion high showfashion the influenceshow the of influence of the iconic iconic kimono kimono silhouette silhouette on runways on runways in the 1960s, in 1990s,the 1960s, 1990s, These three theexamples iconic kimono of high silhouette fashion on showrunways the in theinfluence 1960s, 1990s, of and 2000s. 2000s. Wide Wide sleeves, sleeves, V-shaped V-shaped necklines, necklines, and obi-like and obi-like detailsand 2000s. at the waist Wide are sleeves,matched with V-shaped Western tailoringnecklines, and and obi-like the iconic kimonodetails atsilhouette the waist are on matched runways with in Western the 1960s, tailoring 1990s, and contemporarydetails at the fabrics waist to createare matched a variety ofwith looks. Western tailoring and and 2000s. Widecontemporary sleeves, fabrics V-shaped to create necklines, a variety of andlooks. obi-like contemporary fabrics to create a variety of looks. details at the waist are matched with Western tailoring and contemporary22 fabricsJacket to create a variety of looks. By TomJacket Ford (American, b. 1961) 22 Gucci,Jacket Spring/Summer 2003 tricot with printing; silk tricot lining 22 By Tom Ford (American, b. 1961) CollectionBy Tom of The Ford Kyoto (American, Costume Institute b. 1961), AC10904 2003-10. Cat. 27 Gucci, Spring/Summer 2003 Gucci, Spring/Summer 2003 Jacket DesignRayon featuring tricot chrysanthemum with printing; and silkJapanese tricot family-crest lining motifs, Rayon tricot with printing; silk tricot lining longCollection kimono sleeves, of The and anKyoto attached Costume collar Institute, AC10904 2003-10. Cat. 27 22 Collection of The Kyoto Costume Institute, AC10904 2003-10. Cat. 27 By Tom Ford (American, b. 1961) Design featuring chrysanthemum and Japanese family-crest motifs, Gucci, Spring/SummerDesign featuring 2003 chrysanthemum and Japanese family-crest motifs, Ensemblelong kimono sleeves, and an attached collar 23Rayon tricot longwith kimono printing; sleeves, silk and tricot an attached lining collar CollectionBy of John The Galliano Kyoto (British, Costume b. 1960) Institute, AC10904 2003-10. Cat. 27 John Galliano, Autumn/Winter 1994 Jacket: silk ; belt: acetate satin CollectionEnsemble of The Kyoto Costume Institute, AC9115 94-12-1, AC911694- Design featuring12-2 Ensemble chrysanthemum and Japanese family-crest motifs, 23long kimono sleeves, and an attached collar 23 By John Galliano (British, b. 1960) Double-breastedBy John Galliano jacket with (British, tied-back b.triangular 1960) sleeves and an obi- like Johnbelt Galliano, Autumn/Winter 1994 Jacket:John Galliano, silk organza; Autumn/Winter belt: acetate 1994 satin CollectionJacket: silk of organza; The Kyoto belt: Costume acetate Institute satin , AC9115 94-12-1, AC911694- 12-2Collection of The Kyoto Costume Institute, AC9115 94-12-1, AC911694- 24Ensemble“Kabuki”12-2 dress 23 By RudiDouble-breasted Gernreich (American, jacket b. Austria,with tied-back 1922–1985) triangular sleeves and an obi- By John GallianoHarmonlikeDouble-breasted Knitwear,belt (British, Autumn jacket1963b. 1960) with tied-back triangular sleeves and an obi- Woollike jacquard belt knit John Galliano,Collection Autumn/Winter of The Kyoto Costume Institute1994, AC9186 95-3. Cat. 25

Jacket: silkCheck-patterned organza; fabricbelt: with acetate a V-neck andsatin obi-style trim Collection of“Kabuki” The Kyoto dress Costume Institute, AC9115 94-12-1, AC911694- 2412-2 “Kabuki” dress 24 By Rudi Gernreich (American, b. Austria, 1922–1985) By Rudi Gernreich (American, b. Austria, 1922–1985) Double-breastedHarmon jacket Knitwear, with Autumn tied-back 1963 triangular sleeves and an obi- WoolHarmon jacquard Knitwear, knit Autumn 1963 like belt CollectionWool jacquard of The knit Kyoto Costume Institute, AC9186 95-3. Cat. 25 Collection of The Kyoto Costume Institute, AC9186 95-3. Cat. 25 -patterned fabric with a V-neck and obi-style trim Check-patterned fabric with a V-neck and obi-style trim 24 “Kabuki” dress By Rudi Gernreich (American, b. Austria, 1922–1985) Harmon Knitwear, Autumn 1963 Wool jacquard knit Collection of The Kyoto Costume Institute, AC9186 95-3. Cat. 25

Check-patterned fabric with a V-neck and obi-style trim Kimono Silhouette KimonoKimono Silhouette Silhouette These three examples of high fashion show the influence of the iconic kimonoThese threesilhouette examples on of runways high fashion in theshow 1960s, the influence 1990s, of These three examplesthe iconic kimono of high silhouette fashion on show runways the in influencethe 1960s, 1990s, of and 2000s. Wide sleeves, V-shaped necklines, and obi-like the iconic kimonoandKimono 2000s. silhouette Wide sleeves, on runways V-shapedSilhouette in necklines,the 1960s, and 1990s, obi-like details at the waist are matched with Western tailoring and and 2000s. Widedetails sleeves, at the waist V-shaped are matched necklines, with Western and tailoring obi-like and contemporarycontemporary fabrics to fabricscreate to a create variety a variety of looks. of looks. details at the Thesewaist three are matchedexamples of with high Westernfashion show tailoring the influence and of the iconic kimono silhouette on runways in the 1960s, 1990s, contemporary fabrics to create a variety of looks. and 2000s. Wide sleeves, V-shaped necklines, and obi-like details at theJacket waist are matched with Western tailoring and Jacketcontemporary22 fabrics to create a variety of looks. 22 By Tom Ford (American, b. 1961) Gucci, Spring/Summer 2003 JacketBy Tom Ford (American, b. 1961) Rayon tricot with printing; silk tricot lining 22 Gucci, Spring/SummerCollectionJacket of The2003 Kyoto Costume Institute, AC10904 2003-10. Cat. 27 ByRayon22 Tom tricot Ford with (American, printing; b. silk 1961) tricot lining Gucci,Collection Spring/Summer of DesignTheBy Tom Kyoto featuring Ford Costume 2003(American, chrysanthemum Institute b. 1961) and, AC10904 Japanese 2003-10.family-crest Cat. motifs, 27 Rayon tricot withlongGucci, kimonoprinting; Spring/Summer sleeves, silk andtricot 2003 an attachedlining collar Rayon tricot with printing; silk tricot lining KimonoCollectionDesign featuring of The chrysanthemumKyoto Silhouette Costume Institute and Japanese, AC10904 family-crest 2003-10. motifs,Cat. 27 Collection of The Kyoto Costume Institute, AC10904 2003-10. Cat. 27 long kimono sleeves, and an attached collar TheseDesign three featuring examplesEnsembleDesign chrysanthemum of featuringhigh fashion chrysanthemum show and the influenceJapanese and Japanese of family-crest family-crest motifs, motifs, thelong23 iconic kimono kimono sleeves,long silhouette kimono and on sleeves, runways an attached and in thean attached1960s, collar 1990s, collar and 2000s. WideBy sleeves, John Galliano V-shaped (British, necklines, b. 1960) and obi-like details at the waist are matched with Western tailoring and John Galliano, Autumn/Winter 1994 contemporary fabrics to create a variety of looks. EnsembleJacket: silk organza; belt: acetate satin 23 CollectionEnsemble of The Kyoto Costume Institute, AC9115 94-12-1, AC911694- Ensemble12-2 By23 John GallianoJacket (British, b. 1960) 23 John22 Galliano,By Autumn/Winter John Galliano (British, 1994 b. 1960) By John GallianoBy TomDouble-breastedJohn Ford Galliano,(British, (American, Autumn/Winter b. b.jacket 1961) 1960) with tied-back 1994 triangular sleeves and an obi- Jacket: silkGucci, organza;likeJacket: Spring/Summer belt silk belt: organza; 2003 acetate belt: satinacetate satin John Galliano, Autumn/Winter 1994 CollectionRayon of TheCollection tricot Kyoto with printing; of CostumeThe silkKyoto tricot Costume Institutelining Institute, AC9115, AC9115 94-12-1, 94-12-1, AC911694- AC911694- Collection of The Kyoto Costume Institute, AC10904 2003-10. Cat. 27 Jacket:12-2 silk organza;12-2 belt: acetate satin Collection Designof The featuring Kyoto chrysanthemum Costume and Institute Japanese ,family-crest AC9115 motifs, 94-12-1, AC911694- long“Kabuki” kimonoDouble-breasted sleeves, dress and an jacket attached with collar tied-back triangular sleeves and an obi- 12-2Double-breasted jacket with tied-back triangular sleeves and an obi- 24 like belt like belt By Rudi Gernreich (American, b. Austria, 1922–1985) Double-breastedEnsembleHarmon jacket Knitwear, with Autumntied-back 1963 triangular sleeves and an obi- 23like belt Wool jacquard knit By John“Kabuki”Collection Galliano (British,of dress The Kyotob. 1960) Costume Institute, AC9186 95-3. Cat. 25 John Galliano, Autumn/Winter 1994 24 Jacket: silk organza; belt: acetate satin “Kabuki”Collection dressCheck-patternedBy Rudi of The Gernreich Kyoto Costume fabric (American, Institute with a, AC9115 V-neck b. Austria, 94-12-1, and obi-styleAC911694-1922–1985) trim 24 12-2 Harmon Knitwear, Autumn 1963 “Kabuki” dressWool jacquard knit By Rudi GernreichDouble-breasted (American, jacket with tied-back b. Austria, triangular sleeves 1922–1985) and an obi- Collection of The Kyoto Costume Institute, AC9186 95-3. Cat. 25 24 Harmon Knitwear,like belt Autumn 1963 By Rudi Gernreich (American, b. Austria, 1922–1985) Wool jacquardCheck-patterned knit fabric with a V-neck and obi-style trim HarmonCollection Knitwear, of The Kyoto Autumn Costume 1963 Institute, AC9186 95-3. Cat. 25 24Wool jacquard“Kabuki” knit dress Collection Byof Rudi The Gernreich Kyoto (American, Costume b. Austria, Institute 1922–1985), AC9186 95-3. Cat. 25 Check-patternedHarmon Knitwear, fabric Autumn with 1963 a V-neck and obi-style trim Wool jacquard knit Check-patternedCollection offabric The Kyoto with Costume a V-neck Institute, AC9186 and obi-style95-3. Cat. 25 trim

Check-patterned fabric with a V-neck and obi-style trim Obi ObiObiObiFabric Fabric FabricFabric Wide obi sashes and the luxurious brocade fabrics from WideWide obi obi sashes sashes and theand luxurious the luxurious brocade fabricsbrocade from fabrics from Wide obi sasheswhichwhich they andthey are arethecrafted crafted luxurious are elements are elements brocadeof kimono offashion kimonofabrics that fashion from that havewhichhave received received they attentionare attentioncrafted in their are in own theirelements right own from of rightmodern kimono from and fashionmodern that and which they are crafted are elements of kimono fashion that contemporaryhavecontemporary received designers. attentiondesigners. In these in In theirexamples these own examplesJapanese right from designers Japanese modern designers and have receivedadoptcontemporary attention Western dressmaking designers.in their techniques own In these right while examples stressingfrom modern Japanesetheir and designers dedicationadopt Western to traditional dressmaking fabrics. techniques while stressing their contemporaryadoptdedication designers. Western to traditional dressmaking In these fabrics. examples techniques Japanese while stressing designers their dedication to traditional fabrics. adopt Western dressmaking techniques while stressing their Dress, 1956 dedication to25 traditional fabrics. By ToshikoDress Yamawaki, 1956 (Japanese, 1887–1960) 25 Silk taffetaDress with, 1956Japanese gold-thread embroidery Collection of The Kyoto Costume Institute, AC12555 2011-8-35AB, By Toshiko Yamawaki (Japanese, 1887–1960) 25 gift from Yamawaki Fashion Art College. Cat. 28 BySilk Toshiko Yamawakiwith Japanese (Japanese, gold-thread 1887–1960) embroidery Dress, 1956DesignSilkCollection featuring taffeta a of wave withThe motif JapaneseKyoto Costume gold-thread Institute embroidery, AC12555 2011-8-35AB, 25 Collectiongift from Yamawaki of The Kyoto Fashion Costume Art College Institute. Cat., AC12555 28 2011-8-35AB, By Toshiko Yamawakigift from Yamawaki (Japanese, Fashion 1887–1960) Art College. Cat. 28 Design featuring a wave motif Silk taffeta Designwith Japanese featuring a gold-threadwave motif embroidery Collection of The Kyoto Costume Institute, AC12555 2011-8-35AB, gift from Yamawaki Fashion Art College. Cat. 28

Design featuring a wave motif Obi FabricObi Fabric Wide obi sashes and the luxurious brocade fabrics Wide obi sashesfrom which and thethey luxuriousare crafted arebrocade elements fabrics of kimono from which theyfashion are that crafted have received are elements attention inof their kimono own right from modern and contemporary designers. In fashion that thesehave examplesreceived Japanese attention designers in their adopt own Western right from moderndressmaking and techniquescontemporary while stressing designers. their In these examplesdedication Japanese to traditional designers fabrics. adopt Western dressmakingObi techniques Fabric while stressing their dedication to traditional fabrics. Wide obi sashesDress and the luxurious brocade fabrics 26from which they are crafted are elements of kimono fashion that Byhave Yohji received Yamamoto attention (Japanese, in b. their 1943) own Yohji Yamamoto, Spring/Summer 1995 rightDress from modernSilk/rayon-blend and contemporary and polyester/rayon/- designers. In 26 these examplesblend Japanese brocade designers adopt Western dressmakingBy Yohji YamamotoCollection techniques (Japanese, of The while Kyoto stressing Costumeb. 1943) Institute their , AC9166 dedication to94-34. traditional Cat. 29 fabrics. Yohji Yamamoto, Spring/Summer 1995 Silk/rayon-blendDesign jersey featuring and a chrysanthemumpolyester/rayon/nylon- motif on an blend brocadeobi-style textile Collection ofDress The Kyoto Costume Institute, AC9166 94-34.26 Cat. 29 By Yohji Yamamoto (Japanese, b. 1943) Yohji Yamamoto, Spring/Summer 1995 Design featuringSilk/rayon-blend a chrysanthemum jersey and polyester/rayon/nylon-motif on an obi-style textileblend brocade Collection of The Kyoto Costume Institute, AC9166 94-34. Cat. 29

Design featuring a chrysanthemum motif on an obi-style textile Japanese Motifs JapaneseJapanese Motifs Motifs

The garmentsTheThe ingarments garments this exhibitionin this in exhibitionthis exhibition feature feature an feature anarray array of an botanical array of botanical andof botanical and and The garments in this exhibition feature an array of botanical and animalanimal motifs motifs as well as aswell other as imagery other imageryfrom the natural from worldthe natural world animal motifsanimal as well motifs as as other well asimagery other imagery from fromthe naturalthe natural world world (clouds,(clouds, waves, waves, water, water, and mountains) and mountains) common in common .in Japanese art. Iconic(clouds, cultural waves, images water, like fans, and samurai mountains) helmets, andcommon oxcart wheels in Japanese art. (clouds, waves,Iconic water, cultural and images mountains) like fans, samurai common helmets, in Japanese and oxcart art.wheels asIconic well as cultural robots and images superheroes like fans, from thesamurai worlds ofhelmets, and and oxcart wheels Iconic culturalanimeas wellimages are asalso robots often like printed, andfans, superheroes painted, samurai dyed, orfromhelmets, embroidered the worlds and to ofoxcart manga wheels and as well as robots and superheroes from the worlds of manga and as well as robotsenhanceanime andarehigh alsodesign. superheroes often Here, printed, garments from painted,by some the of dyed, today’sworlds or leading embroidered of manga andto are also often printed, painted, dyed, or embroidered to fashionenhance houses high are design. embellished Here, with garments traditional motifs by some drawn of from today’s leading anime are alsohistoricalenhance often kimono high printed, anddesign. obi textiles: painted,Here, swallows, garments dyed, cranes, by or somecalligraphy, embroidered of today’s leading to fashion houses are embellished with traditional motifs drawn from brushstrokes,fashion houses pine, bamboo,are embellished and cherry blossoms.with traditional motifs drawn from enhance highhistorical design. kimono Here, and garments obi textiles: by swallows, some of cranes, today’s calligraphy, leading historical kimono and obi textiles: swallows, cranes, calligraphy, fashion housesbrushstrokes, are embellished pine, bamboo, with and traditional cherry blossoms. motifs drawn from brushstrokes, pine, bamboo, and cherry blossoms. historical kimono27 andDress obi textiles: swallows, cranes, calligraphy, brushstrokes, pine, bamboo,By Hanae Mori (Japanese, and cherry b. 1926) blossoms. HanaeDress Mori, Autumn/Winter 1989 Silk chiffonDress with printing 27 Collection of The Kyoto Costume Institute, AC13457 2016-28. 27 Cat. By34 Hanae Mori (Japanese, b. 1926) ByHanae Hanae Mori, Mori Autumn/Winter (Japanese, b. 1989 1926) Dress DesignHanaeSilk featuring chiffon Mori, a Japanese Autumn/Winterwith printing calligraphy motif1989 27 SilkCollection chiffon of Thewith Kyotoprinting Costume Institute, AC13457 2016-28. By Hanae MoriCollectionCat. (Japanese,34 of The Kyoto b. 1926) Costume Institute, AC13457 2016-28. Cat. 34 Hanae Mori,Evening Autumn/Winter dress 1989 28 Design featuring a Japanese calligraphy motif Silk chiffonBy Rei Designwith Kawakubo printing featuring (Japanese, a Japanese b. 1942) calligraphy motif Comme des Garçons, Autumn/Winter 1991 CollectionSilk of taffeta The Kyotowith hand Costumepainting Institute, AC13457 2016-28. Cat. 34 Collection of The Kyoto Costume Institute, AC7076 92-7-4AB. Cat. Evening35 dress Evening dress 28Design featuringDesign featuring a Japanese a flying-cranes calligraphy motif and a red waddedmotif hem 28 By Rei Kawakubo (Japanese, b. 1942) ByComme Rei Kawakubo des Garçons, (Japanese, Autumn/Winter b. 1942) 1991 CommeSilk taffeta des Garçons,with hand Autumn/Winterpainting 1991 Jumpsuit, harness, and sandals 29 SilkCollection taffeta of withThe handKyoto painting Costume Institute, AC7076 92-7-4AB. By SarahCollectionCat. Burton35 (British,of The b.Kyoto 1974) Costume Institute, AC7076 92-7-4AB. EveningAlexander dressCat. 35McQueen, Spring/Summer 2015 Jumpsuit: silk twill with printing; harness: leather; sandals: leather 28 Design featuring a flying-cranes motif and a red wadded hem and plastic platform Design featuring a flying-cranes motif and a red wadded hem By Rei KawakuboCollection of The(Japanese, Kyoto Costume b. Institute 1942), AC13223 2015-14AB. Comme desCat. 37Garçons, Autumn/Winter 1991

Silk taffetaWide-sleeved with hand design paintingfeaturing motifs of waves and cherry Jumpsuit, harness, and sandals 29Collectionblossoms ofJumpsuit, The Kyoto Costumeharness, Institute and sandals, AC7076 92-7-4AB. 29Cat. 35 By Sarah Burton (British, b. 1974) ByAlexander Sarah Burton McQueen, (British, Spring/Summer b. 1974) 2015 Alexander McQueen, Spring/Summer 2015 Design featuringJumpsuit: a flying-cranes silk twill with printing; motif andharness: a red leather; wadded sandals: hem leather Jumpsuit:and plastic silk platform twill with printing; harness: leather; sandals: leather andCollection plastic of platform The Kyoto Costume Institute, AC13223 2015-14AB. CollectionCat. 37 of The Kyoto Costume Institute, AC13223 2015-14AB. Cat. 37 Jumpsuit,Wide-sleeved harness, design and featuring sandals motifs of waves and cherry Wide-sleevedblossoms design featuring motifs of waves and cherry 29 blossoms By Sarah Burton (British, b. 1974) Alexander McQueen, Spring/Summer 2015 Jumpsuit: silk twill with printing; harness: leather; sandals: leather and plastic platform Collection of The Kyoto Costume Institute, AC13223 2015-14AB. Cat. 37

Wide-sleeved design featuring motifs of waves and cherry blossoms Japanese Motifs Japanese Motifs The garmentsJapanese in this exhibition feature Motifsan array of botanical and animal motifs as well as other imagery from the natural world The garmentsThe in garments this exhibition in this exhibition feature feature an array an array of botanical of botanical and and (clouds, waves, water, and mountains) common in Japanese art. animal motifsanimal as well motifs as as other well asimagery other imagery from fromthe naturalthe natural world world Iconic cultural images like fans, samurai helmets, and oxcart wheels (clouds, waves,Japanese(clouds, water, waves, and water, mountains) and mountains) Motifscommon common in Japanese in Japanese art. art. as well as robotsIconic andcultural superheroes images like fans, from samurai the worlds helmets, of and manga oxcart andwheels Iconic cultural images like fans, samurai helmets, and oxcart wheels anime are alsoas welloften as robotsprinted, and painted, superheroes dyed, from or the embroidered worlds of manga to and as well as robotsThe garments and superheroes in this exhibition from feature the anworlds array ofof botanical manga andand enhance highanimalanime design. aremotifs also Here, as often well garments printed,as other painted, imagery by some dyed, from of orthe today’s embroidered natural worldleading to anime are alsoenhance often high printed, design. painted, Here, garments dyed, by or some embroidered of today’s leading to fashion houses(clouds, are embellishedwaves, water, and with mountains) traditional common motifs in Japanesedrawn from art. enhance highIconicfashion design. cultural houses Here, images are garmentsembellished like fans, bysamuraiwith some traditional helmets, of today’s motifs and oxcartdrawn leading wheelsfrom historical kimono and obi textiles: swallows, cranes, calligraphy, fashion housesashistorical well are as embellished kimono robots andand superheroesobi with textiles: traditional swallows, from the motifs worldscranes, ofdrawn calligraphy, manga from and brushstrokes,brushstrokes, pine, bamboo, pine, bamboo, and cherry and cherry blossoms. blossoms. historical kimonoanime andare also obi often textiles: printed, swallows, painted, dyed, cranes, or embroidered calligraphy, to enhance high design. Here, garments by some of today’s leading brushstrokes,fashion pine, houses bamboo, are embellished and cherry with blossoms. traditional motifs drawn from historical kimonoDress and obi textiles: swallows, cranes, calligraphy, Dressbrushstrokes,27 pine, bamboo, and cherry blossoms. 27 By Hanae Mori (Japanese, b. 1926) Hanae Mori, Autumn/Winter 1989 ByDress Hanae Mori (Japanese, b. 1926) Silk chiffon with printing 27 Hanae Mori, Autumn/Winter 1989 DressCollection of The Kyoto Costume Institute, AC13457 2016-28. By Hanae Mori (Japanese, b. 1926) Silk chiffon Cat.with 34 printing Hanae27 Mori, Autumn/Winter 1989 Collection ofBy The Hanae Kyoto Mori Costume (Japanese, Institute b. 1926), AC13457 2016-28. Silk chiffon HanaeDesignwith printing Mori,featuring Autumn/Winter a Japanese 1989calligraphy motif Cat. 34 Collection ofSilk The chiffon Kyoto withCostume printing Institute, AC13457 2016-28. JapaneseCollection of The Motifs Kyoto Costume Institute, AC13457 2016-28. Cat. 34 Design featuringCat. 34 a Japanese calligraphy motif The garments inEvening this exhibition dress feature an array of botanical and animalDesign28 motifs featuring asDesign well asa featuringotherJapanese imagery a Japanese calligraphy from the calligraphy natural motif world motif (clouds, waves, Bywater, Rei andKawakubo mountains) (Japanese, common b. in 1942) Japanese art. Iconic cultural images like fans, samurai helmets, and oxcart wheels Comme des Garçons, Autumn/Winter 1991 as well as robots and superheroes from the worlds of manga and Evening dressSilk taffeta with hand painting anime are also often printed, painted, dyed, or embroidered to EveningCollection of dress The Kyoto Costume Institute, AC7076 92-7-4AB. 28 enhance high design. Here, garments by some of today’s leading Evening dressCat. 35 fashionBy28 Rei houses Kawakubo are embellished (Japanese, with traditional b. 1942) motifs drawn from By Rei Kawakubo (Japanese, b. 1942) 28 historicalComme kimono des Garçons, and obi textiles: Autumn/Winter swallows, cranes, 1991 calligraphy, brushstrokes,By Rei Kawakubo pine,CommeDesign bamboo, (Japanese,featuring des andGarçons, cherrya flying-cranes b. Autumn/Winter blossoms. 1942) motif and1991 a red wadded hem Silk taffeta Silkwith taffeta hand withpainting hand painting Comme des Garçons, Autumn/Winter 1991 Collection ofCollection The Kyoto of The Costume Kyoto Costume Institute Institute, AC7076, AC7076 92-7-4AB. 92-7-4AB. Silk taffeta with hand painting Cat. 35 DressCat. 35 27Collection ofJumpsuit, The Kyoto Costumeharness, Institute and sandals, AC7076 92-7-4AB. Cat.29 35 By HanaeDesign Mori featuring (Japanese, a b. flying-cranes 1926) motif and a red wadded hem Design featuringHanaeBy Mori, Sarah aAutumn/Winter flying-cranes Burton (British, 1989 motif b. 1974) and a red wadded hem Silk chiffon with printing CollectionAlexander of The KyotoMcQueen, Costume Spring/Summer Institute, AC13457 2016-28. 2015 Design featuringCat. Jumpsuit:34 a flying-cranes silk twill with printing; motif and harness: a red leather; wadded sandals: hem leather Jumpsuit,and plastic platform harness, and sandals Design featuring a Japanese calligraphy motif 29 Collection of The Kyoto Costume Institute, AC13223 2015-14AB. Jumpsuit,ByCat. harness, Sarah 37 Burton (British,and sandals b. 1974) 29 Alexander McQueen, Spring/Summer 2015 ByJumpsuit, SarahEvening BurtonJumpsuit:Wide-sleeved harness, dress (British, silk designtwill b.and with 1974) featuring printing; sandals motifs harness: of waves leather; and sandals: cherry leather 28 andblossoms plastic platform 29 AlexanderBy McQueen, Rei Kawakubo (Japanese, Spring/Summer b. 1942) 2015 By SarahComme BurtonCollection des Garçons,(British, of The Autumn/Winter b.Kyoto 1974) Costume 1991 Institute, AC13223 2015-14AB. Jumpsuit: silk twill with printing; harness: leather; sandals: leather AlexanderSilk McQueen, taffetaCat. 37 with hand Spring/Summer painting 2015 and plasticCollection platform of The Kyoto Costume Institute, AC7076 92-7-4AB. Jumpsuit:Cat. silk 35 twill with printing; harness: leather; sandals: leather Collection ofWide-sleeved The Kyoto Costumedesign featuring Institute motifs, AC13223 of waves and 2015-14AB. cherry and plastic platform Cat. 37 Designblossoms featuring a flying-cranes motif and a red wadded hem Collection of The Kyoto Costume Institute, AC13223 2015-14AB. Cat. 37 Wide-sleeved design featuring motifs of waves and cherry Jumpsuit, harness, and sandals 29blossoms Wide-sleevedBy Sarah design Burton (British, featuring b. 1974) motifs of waves and cherry blossomsAlexander McQueen, Spring/Summer 2015 Jumpsuit: silk twill with printing; harness: leather; sandals: leather and plastic platform Collection of The Kyoto Costume Institute, AC13223 2015-14AB. Cat. 37

Wide-sleeved design featuring motifs of waves and cherry blossoms Japanese MotifsMotifs

The garments inCoat this exhibition feature an array of botanical and Japaneseanimal motifs as well Motifs as other imagery from the natural world (clouds,30 waves, water, and mountains) common in Japanese art. By Alessandro dell’Acqua (Italian, b. 1962) Iconic cultural images like fans, samurai helmets, and oxcart wheels Rochas, Autumn/Winter 2015 asCoat well as robots and superheroes from the worlds of manga and anime are also oftenCoat: printed, wool and painted, silk twill dyed, with or beaded embroidered velvet to 30 enhance high design.appliqué; Here, tie: garments wool twill by some of today’s leading fashionBy Alessandro houses areCollection embellisheddell’Acqua of The with (Italian,Kyoto traditional Costume b. 1962)motifs Institute drawn, AC13261 from historicalRochas, kimono Autumn/Winter2015-29-1AB. and obi textiles: Cat. 2015 swallows, 38 cranes, calligraphy, brushstrokes, pine, bamboo, and cherry blossoms. Coat: wool and silk twill with beaded velvet Design featuring a swallow motif appliqué; tie: wool twill CollectionDress of The Kyoto Costume Institute, AC13261 272015-29-1AB. Cat. 38 By Hanae Mori (Japanese, b. 1926) Hanae Mori, Autumn/Winter 1989 Design featuringSilk chiffon awith swallow printing motif Collection of The Kyoto Costume Institute, AC13457 2016-28. Cat. 34

Design featuring a Japanese calligraphy motif

28 Evening dress By Rei Kawakubo (Japanese, b. 1942) Comme des Garçons, Autumn/Winter 1991 Silk taffeta with hand painting Collection of The Kyoto Costume Institute, AC7076 92-7-4AB. Cat. 35

Design featuring a flying-cranes motif and a red wadded hem

29 Jumpsuit, harness, and sandals By Sarah Burton (British, b. 1974) Alexander McQueen, Spring/Summer 2015 Jumpsuit: silk twill with printing; harness: leather; sandals: leather and plastic platform Collection of The Kyoto Costume Institute, AC13223 2015-14AB. Cat. 37

Wide-sleeved design featuring motifs of waves and cherry blossoms Everyday Kimono EverydayEveryday Kimono Kimono

Indigo-dyed (aizome) and were staple fabrics for Indigo-dyed Indigo-dyedIndigo-dyed(aizome ()aizome hemp(aizome) hemp and) hempand cottoncotton and were cotton were staple were staplefabrics staple for fabrics fabrics for for commoncommon people people in Japan in Japan for centuries. for centuries. Indigo lends Indigo itself to lends many itself to many common peopledesigncommondesign techniques,in techniques, Japan people including infor Japanincluding centuries. shibori for tie- shiboricenturies. Indigo tie-dyeingand Indigokatazome lends lendsand stencil itself itself to to many manystencil design techniques,dying,designdying, as as techniques,well including well as sashiko as sashiko ,including ashibori quilting, a quiltingtechnique shiboritie-dyeing technique thattie-dyeing typically and that employsand katazome typically katazome employs stencil stencil whitedying, thread as wellover aizomeas sashiko cloth. ,Worn-out a quilting indigo technique fabrics would that typically employs dying, as welloftenwhite as be threadsashiko repurposed over, asa aizome householdquilting cloth. textiles technique Worn-out or used for thatindigo patchwork typically fabrics would employs white thread over aizome cloth. Worn-out indigo fabrics would white threadclothingoften over be called aizome repurposed “rag wear” cloth. (asboro householdWorn-out). Born of necessity, textiles indigo laborers or fabricsused for patchworkwould woreoftenclothing boro be until calledrepurposed threadbare, “rag wear” as leaving household ( borofew remaining). Borntextiles examples.of ornecessity, used The for laborers patchwork often be repurposed as household textiles or used for patchwork extraordinaryclothingwore boro called anduntil rare “ragthreadbare, wear” period ( boroleavingcoat ().dotera Born few) displayed remainingof necessity, here examples. laborers The features many shades of aizome cloth. clothing calledworeextraordinary “rag boro wear” until and threadbare, (rareboro Meiji). Born leavingperiod of fewcoat necessity, remaining (dotera) displayed laborersexamples. here The wore boro untilextraordinaryfeatures threadbare, many and shades rare leaving ofMeiji aizome periodfew cloth. remaining coat (dotera examples.) displayed hereThe features many shades of aizome cloth. extraordinary32 and rareDress Meiji and T-shirt period coat (dotera) displayed here features many shadesBy Rei of Kawakubo aizome (Japanese, cloth. b. 1942) CommeDress des Garçons, and Autumn/WinterT-shirt 1984 Dress:Dress rayon plain and weave T-shirt with printing; T-shirt: rayon plain weave 32 with printing 32 CollectionBy Rei of TheKawakubo Kyoto Costume (Japanese, Institute, AC7914b. 1942) 93-24-122AB, gift fromByComme Comme Rei desKawakubo des Garçons Garçons, Co.,(Japanese, Ltd Autumn/Winter. Cat. 41 b. 1942) 1984 Dress andCommeDress: T-shirt rayon des Garçons,plain weave Autumn/Winter with printing; 1984 T-shirt: rayon plain weave Design featuring a chrysanthemum pattern inspired by stencil-dyed Dress:with printing rayon plain weave with printing; T-shirt: rayon plain weave 32 katazome prints By Rei KawakubowithCollection printing (Japanese, of The Kyoto b. Costume 1942) Institute, AC7914 93-24-122AB, gift Collectionfrom Comme of Thedes KyotoGarçons Costume Co., Ltd Institute,. Cat. 41 AC7914 93-24-122AB, gift Comme desfrom Garçons, Comme Autumn/Winterdes Garçons Co., Ltd 1984. Cat. 41 Jacket, shirt, and trousers 33Dress: rayonDesign plain featuringweave witha chrysanthemum printing; T-shirt: pattern rayoninspired plain by stencil-dyed weave with printingBy JunyaDesignkatazome Watanabe featuring prints (Japanese, a chrysanthemum b. 1961) pattern inspired by stencil-dyed CollectionJunya ofkatazome TheWatanabe Kyoto printsComme Costume des Garçons, Institute, Spring/Summer AC7914 2015 93-24-122AB, gift Jacket: Multiple fabric types (approximately fifteen) including cotton, from Commewool, ,des rayon,Garçons and polyester; Co., shirt:Ltd .cotton Cat. plain 41 weave; trousers: multiple types of cotton and linen (approximately fifteen) CollectionJacket, of The Kyotoshirt, Costume and Institute trousers, AC13199 2015-4-1AE. Cat. 42 33Design featuringJacket, a chrysanthemum shirt, and trousers pattern inspired by stencil-dyed 33katazomeJacket printsBy and Junya trouser Watanabe design featuring (Japanese, patchwork b. with 1961) hand stitching inspired by “rag wear” (boro); check-patterned shirt ByJunya Junya Watanabe Watanabe Comme (Japanese, des Garçons, b. 1961) Spring/Summer 2015 JunyaJacket: Watanabe Multiple fabric Comme types des (approximately Garçons, Spring/Summer fifteen) including 2015 cotton, Jacket:wool, linen, Multiple rayon, fabric and typespolyester; (approximately shirt: cotton fifteen) plain weave;including trousers: cotton, Boro/doterawool,multiple linen, types rayon, of cotton and polyester; and linen shirt:(approximately cotton plain fifteen) weave; trousers: 34 multiple types of cotton and linen (approximately fifteen) Jacket,Japan, shirt,Collection Meiji period and of (1868–1912) The trousers Kyoto Costume Institute, AC13199 2015-4-1AE. Cat. 42 CottonCollection plain weave, of handwovenThe Kyoto and Costume indigo dyed Institute, AC13199 2015-4-1AE. Cat. 42 33 Collection of The Kyoto Costume Institute, AC13471 2017-6-1. Cat. 43 Jacket and trouser design featuring patchwork with hand stitching By Junya Watanabe (Japanese, b. 1961) Jacketinspired and by trouser“rag wear” design (boro featuring); check-patterned patchwork withshirt hand stitching Garment constructed from torn and patched fabric pieces (boro) Junya Watanabeinspired Comme by “rag wear”des Garçons, (boro); check-patterned Spring/Summer shirt 2015 Jacket: Multiple fabric types (approximately fifteen) including cotton, wool, linen, rayon, and polyester; shirt: cotton plain weave; trousers: Boro/dotera 34multiple typesBoro/dotera of cotton and linen (approximately fifteen) 34Collection ofJapan, The Kyoto Meiji period Costume (1868–1912) Institute, AC13199 2015-4-1AE. Cat. 42 Japan,Cotton Meijiplain periodweave, (1868–1912)handwoven and indigo dyed Jacket and trouserCottonCollection plain design of weave,The Kyotofeaturing handwoven Costume patchwork andInstitute indigo, AC13471 withdyed hand 2017-6-1. stitching Cat. 43 Collection of The Kyoto Costume Institute, AC13471 2017-6-1. Cat. 43 inspired by “rag wear” (boro); check-patterned shirt Garment constructed from torn and patched fabric pieces (boro) Garment constructed from torn and patched fabric pieces (boro) 34 Boro/dotera Japan, Meiji period (1868–1912) Cotton plain weave, handwoven and indigo dyed Collection of The Kyoto Costume Institute, AC13471 2017-6-1. Cat. 43

Garment constructed from torn and patched fabric pieces (boro) Everyday Kimono Everyday Kimono Indigo-dyed (Everydayaizome) hemp and cotton Kimono were staple fabrics for commonIndigo-dyed people (aizome in Japan) hemp for and centuries. cotton wereIndigo staple lends fabrics itself to for many Indigo-dyed (aizome) hemp and cotton were staple fabrics for designcommon techniques, people in Japanincluding for shiboricenturies. tie-dyeing Indigo lendsand katazome itself to manystencil dying, as wellcommon as sashiko people, ain quiltingJapan for technique centuries. Indigo that lendstypically itself employsto many design techniques,design techniques, including including shibori shiboritie-dyeing tie-dyeing and and katazome katazome stencil stencil white threadEveryday over aizome cloth. Worn-out Kimono indigo fabrics would dying, as welldying, as sashiko as well as, a sashiko quilting, a quilting technique technique that that typically typically employs employs often be repurposedwhite thread as over household aizome cloth. textiles Worn-out or used indigo for fabrics patchwork would white threadIndigo-dyed over aizome (aizome cloth.) hemp Worn-out and cotton indigo were fabricsstaple fabrics would for clothing calledoften “rag be repurposedwear” (boro as household). Born of textiles necessity, or used laborers for patchwork often be repurposedcommon people as household in Japan for textiles centuries. or Indigo used lends for patchwork itself to many clothing called “rag wear” (boro). Born of necessity, laborers wore boro untildesign threadbare, techniques, leavingincluding fewshibori remaining tie-dyeing andexamples. katazome The stencil clothing calledwore “rag boro wear” until threadbare, (boro). Born leaving of few necessity, remaining laborersexamples. The extraordinarydying, and asrare well Meiji as sashiko period, a quilting coat ( techniquedotera) displayedthat typically here employs wore boro untilextraordinary threadbare, and rare leaving Meiji periodfew remaining coat (dotera examples.) displayed hereThe white thread over aizome cloth. Worn-out indigo fabrics would features manyfeatures shades many of shadesaizome of cloth.aizome cloth. extraordinaryoften and be rare repurposed Meiji period as household coat textiles(dotera or) used displayed for patchwork here features manyclothing shades called of “ragaizome wear” cloth. (boro). Born of necessity, laborers wore boro until threadbare, leaving few remaining examples. The Dressextraordinary andDress andT-shirt rare and Meiji T-shirt period coat (dotera) displayed here features32 many shades of aizome cloth. 32 Dress andBy T-shirt Rei Kawakubo (Japanese, b. 1942) By Rei KawakuboComme (Japanese, des Garçons, b. Autumn/Winter 1942) 1984 32 Comme des Dress:Garçons, rayon Autumn/Winter plain weave with printing; 1984 T-shirt: rayon plain weave By Rei Kawakubowith printing (Japanese, b. 1942) Dress: rayonDress plain weaveand T-shirt with printing; T-shirt: rayon plain weave Comme des CollectionGarçons, of Autumn/WinterThe Kyoto Costume 1984Institute, AC7914 93-24-122AB, gift 32with printing Dress: rayonByfrom plain Rei Comme Kawakubo weave des with Garçons(Japanese, printing; Co., b. Ltd 1942) T-shirt:. Cat. 41 rayon plain weave Collection of The Kyoto Costume Institute, AC7914 93-24-122AB, gift with printingComme des Garçons, Autumn/Winter 1984 from CommeDress:Design des Garçonsrayon featuring plain aCo., weavechrysanthemum Ltd with. Cat. printing; 41pattern T-shirt: inspired rayon by plain stencil-dyed weave Collection ofwithkatazome The printing Kyoto prints Costume Institute, AC7914 93-24-122AB, gift from Comme des Garçons Co., Ltd. Cat. 41 EverydayDesign featuringCollection a chrysanthemum of TheKimono Kyoto Costume pattern Institute, inspired AC7914 by 93-24-122AB, stencil-dyed gift from Comme des Garçons Co., Ltd. Cat. 41 katazome prints Indigo-dyedDesign featuring (aizome) hempa chrysanthemum and cotton were staplepattern fabrics inspired for by stencil-dyed DesignJacket, featuring shirt, a andchrysanthemum trousers pattern inspired by stencil-dyed commonkatazome people prints in Japan for centuries. Indigo lends itself to many 33 katazome prints design techniques, including shibori tie-dyeing and katazome stencil By Junya Watanabe (Japanese, b. 1961) dying, as well as sashiko, a quilting technique that typically employs Junya Watanabe Comme des Garçons, Spring/Summer 2015 white thread over aizome cloth. Worn-out indigo fabrics would Jacket, shirt,Jacket: andMultiple trousers fabric types (approximately fifteen) including cotton, often be repurposed as household textiles or used for patchwork wool, linen, rayon, and polyester; shirt: cotton plain weave; trousers: 33 clothingJacket, called shirt, “ragJacket, wear” and (shirt,boro trousers). Born and of trousers necessity, laborers wore33By Junya boro until Watanabe threadbare,multiple types (Japanese, leaving of cotton few remaining andb. 1961) linen examples. (approximately The fifteen) Collection of The Kyoto Costume Institute, AC13199 2015-4-1AE. Cat. 42 33 extraordinaryJunya Watanabe andBy rare Junya CommeMeiji Watanabe period des coat (Japanese, Garçons, (dotera) b.displayed Spring/Summer 1961) here 2015 featuresBy Junya many Watanabe shadesJunya ofWatanabe aizome (Japanese, cloth. Comme b. des 1961) Garçons, Spring/Summer 2015 Jacket: MultipleJacket fabric and trouser types design (approximately featuring patchwork fifteen) with including hand stitching cotton, Junya WatanabeJacket: Comme Multiple fabricdes Garçons, types (approximately Spring/Summer fifteen) including 2015 cotton, wool, linen, rayon,inspired and by “rag polyester; wear” (boro shirt:); check-patterned cotton plain shirt weave; trousers: Jacket: Multiplewool, fabriclinen, rayon, types and (approximately polyester; shirt: cottonfifteen) plain including weave; trousers: cotton, multiple typesDressmultiple ofand cotton T-shirt types ofand cotton linen and (approximately linen (approximately fifteen) fifteen) wool, linen, rayon, and polyester; shirt: cotton plain weave; trousers: 32Collection ofCollection The Kyoto of The Costume Kyoto Costume Institute Institute, AC13199, AC13199 2015-4-1AE. 2015-4-1AE. Cat.Cat. 42 42 multiple typesBy Rei Kawakubo of cotton (Japanese, and b.linen 1942) (approximately fifteen) CommeBoro/dotera des Garçons, Autumn/Winter 1984 CollectionDress: ofJacket The rayon Kyotoplainand weavetrouser Costume with design printing; Institutefeaturing T-shirt: rayon ,patchwork AC13199 plain weave with 2015-4-1AE. hand stitching Cat. 42 Jacket and trouser design featuring patchwork with hand stitching 34 with inspiredprinting by “rag wear” (boro); check-patterned shirt inspired byCollection “ragJapan, ofwear” The Meiji Kyoto period( boroCostume );(1868–1912) Institute,check-patterned AC7914 93-24-122AB, shirt gift Jacket andfrom trouser CottonComme des plain design Garçons weave, Co.,featuring handwovenLtd. Cat. 41 patchwork and indigo with dyed hand stitching Collection of The Kyoto Costume Institute, AC13471 2017-6-1. Cat. 43 inspired byDesign “rag featuring wear” a chrysanthemum (boro); check-patterned pattern inspired by stencil-dyed shirt katazomeBoro/dotera prints 34 Garment constructed from torn and patched fabric pieces (boro) Boro/doteraJapan, Meiji period (1868–1912) 34 Jacket,Cotton shirt, plain and weave, trousers handwoven and indigo dyed 33Boro/doteraCollection of The Kyoto Costume Institute, AC13471 2017-6-1. Cat. 43 Japan, MeijiBy Junya period Watanabe (1868–1912) (Japanese, b. 1961) 34 Cotton plainJunya weave,Watanabe Commehandwoven des Garçons, and Spring/Summer indigo dyed 2015 Japan, MeijiJacket:Garment period Multiple fabricconstructed(1868–1912) types (approximately from torn fifteen)and patched including fabric cotton, pieces (boro) Collectionwool, of linen,The rayon,Kyoto and Costume polyester; shirt: Institute cotton plain, AC13471 weave; trousers: 2017-6-1. Cat. 43 Cotton plainmultiple weave, types of cottonhandwoven and linen (approximately and indigo fifteen) dyed CollectionCollection of The of KyotoThe Kyoto Costume Costume Institute Institute, AC13199, 2015-4-1AE.AC13471 Cat. 2017-6-1. 42 Cat. 43 Garment constructed from torn and patched fabric pieces (boro) Jacket and trouser design featuring patchwork with hand stitching Garment inspiredconstructed by “rag wear” from (boro torn); check-patterned and patched shirt fabric pieces (boro)

34 Boro/dotera Japan, Meiji period (1868–1912) Cotton plain weave, handwoven and indigo dyed Collection of The Kyoto Costume Institute, AC13471 2017-6-1. Cat. 43

Garment constructed from torn and patched fabric pieces (boro) Shibori ShiboriShibori

Shibori dyeing techniques create a variety of patterns and textures Shibori dyeingShiboriShibori techniques dyeing dyeing techniques techniques create create acreate variety variety aof varietypatterns of patterns andof patterns textures and and textures textures inin fabric. fabric. Te-kumo Te-kumo (spiderweb) (spiderweb) shibori involves shibori pleating, involves then pleating, then in fabric. Te-kumobindinginbinding fabric. cloth. (spiderweb)cloth. Te-kumo In Miura In Miura shibori(spiderweb) shibori (loopedshibori (loopedbinding) shibori involves thread involvesbinding) ispleating, wrapped pleating,thread thenis thenwrapped binding cloth.oncebindingonce In around Miuraaround cloth. each eachshibori Insmall Miura smallsection (looped shibori section of fabric, (looped of binding)allowing fabric, binding) allowing tothread seep thread into dye is istowrapped wrappedseep into theonce bound around areas. eachThe works small here section update traditionalof fabric, methods allowing by dye to seep into once aroundretainingthe each bound boundsmall areas. protrusions section The worksin order of fabric, hereto produce update allowing a stretchy, traditional form- dye methods to seep by into the bound areas. The works here update traditional methods by the bound areas.fittingretaining fabric; The bound by works combining protrusions here itajime update shibori in order (where traditional to fabricproduce is clamped amethods stretchy, form- by betweenretainingfitting fabric; wood bound blocks) by protrusionscombining with hand coloring; itajime in order and shibori to by produceapplying (where shibori a fabricstretchy, is clamped form- retaining bound protrusions in order to produce a stretchy, form- tyingfittingbetween techniques fabric; wood toby Superblocks) combining Organza, with itajime handwoven coloring;from shibori filaments (where and of by fabricapplying is clamped shibori polyester, and stitching it to create a sculptural silhouette. fitting fabric;betweentying by combiningtechniques wood blocks) to itajime Super with Organza, shiborihand coloring; woven(where andfrom fabric by filaments applying is clamped of shibori between woodtyingpolyester, blocks) techniques and with stitching to Superhand it toOrganza,coloring; create a woven sculptural and fromby applyingsilhouette. filaments ofshibori polyester, and stitching it to create a sculptural silhouette. tying techniques35 to SuperPullover Organza, woven from filaments of polyester, and stitchingBy Maurizio it to Galante create (Italian, ab. 1963)sculptural silhouette. MaurizioPullover Galante, Haute Couture Collection, Autumn/Winter 1994 Silk, Pullovertie-dyed 35 Collection of The Kyoto Costume Institute, AC9155 94-28AB, gift of 35 Mr. MaurizioBy Maurizio Galante Galante. Cat. 31 (Italian, b. 1963) ByMaurizio Maurizio Galante, Galante Haute (Italian, Couture b. 1963) Collection, Autumn/Winter 1994 PulloverDesignMaurizioSilk, featuring tie-dyed Galante, a spiderweb Haute binding Couture pattern ( te-kumoCollection, shibori Autumn/Winter) 1994 35 Silk,Collection tie-dyed of The Kyoto Costume Institute, AC9155 94-28AB, gift of By Maurizio CollectionMr.Galante Maurizio of(Italian, GalanteThe Kyoto .b. Cat. Costume 1963) 31 Institute, AC9155 94-28AB, gift of DressMr. Maurizio Galante. Cat. 31 Maurizio Galante, Haute Couture Collection, Autumn/Winter 1994 36 Design featuring a spiderweb binding pattern (te-kumo shibori) Silk, tie-dyedBy IrisDesign van Herpen featuring (Dutch, a b. spiderweb 1984) binding pattern (te-kumo shibori) Iris van Herpen, Haute Couture Collection, Autumn/Winter 2016 CollectionPolyester of The monofilament Kyoto Costume organza, shibori Institute tied, and, cotton/elastane-AC9155 94-28AB, gift of Mr. Maurizioblend Galantetwill . Cat. 31 CollectionDress of The Kyoto Costume Institute, AC13436 2016-17. Cat. 33 Dress 36Design featuringDesign featuring a spiderweb Super Organza binding(Ten’nyo no patternhagoromo) fabric(te-kumo with shibori) 36 shiboriBy tying Iris techniquevan Herpen (Dutch, b. 1984) ByIris Irisvan van Herpen, Herpen Haute (Dutch, Couture b. 1984) Collection, Autumn/Winter 2016 IrisPolyester van Herpen, monofilament Haute Couture organza, Collection, shibori tied, Autumn/Winter and cotton/elastane- 2016 Polyester monofilament organza, shibori tied, and cotton/elastane- Jacket,blend trousers, twill and sneakers 37 blendCollection twill of The Kyoto Costume Institute, AC13436 2016-17. Cat. 33 Dress By YusukeCollection Takahashi of The(Japanese, Kyoto b. Costume 1985) Institute, AC13436 2016-17. Cat. 33 ISSEYDesign MIYAKE featuring MEN, Spring/Summer Super Organza 2014 (Ten’nyo no hagoromo) fabric with 36 Jacket: wool plain weave and polyester/polyurethane-blend knit; Design featuring Super Organza (Ten’nyo no hagoromo) fabric with By Iris vantrousers: Herpenshibori wool tying plain(Dutch, weave;technique sneakers:b. 1984) suede; jacket and trousers: shibori tying technique Iris van Herpen,clamp-resist Haute dyed with Couture hand coloring Collection, Autumn/Winter 2016 Collection of The Kyoto Costume Institute, AC13266 15-32AD. Cat. 32 Polyester monofilament organza, shibori tied, and cotton/elastane- blend twillDesign featuring gray wool clamp-resist dyed (itajime shibori) black with Jacket,a blue and red trousers, geometric pattern and sneakers Collection37 ofJacket, The Kyoto trousers, Costume and Institute sneakers, AC13436 2016-17. Cat. 33 37 By Yusuke Takahashi (Japanese, b. 1985) By Yusuke Takahashi (Japanese, b. 1985) Design featuringISSEY Super MIYAKE Organza MEN, Spring/Summer (Ten’nyo no 2014 hagoromo) fabric with ISSEYJacket: MIYAKE wool plain MEN, weave Spring/Summer and polyester/polyurethane-blend 2014 knit; shibori tyingJacket:trousers: technique wool wool plain plain weave weave; and sneakers: polyester/polyurethane-blend suede; jacket and trousers: knit; trousers:clamp-resist wool dyed plain with weave; hand sneakers: coloring suede; jacket and trousers: clamp-resistCollection of dyedThe Kyoto with handCostume coloring Institute, AC13266 15-32AD. Cat. 32 Collection of The Kyoto Costume Institute, AC13266 15-32AD. Cat. 32 Design featuring gray wool clamp-resist dyed (itajime shibori) black Jacket, trousers,Designwith a blue featuring and and red gray geometric sneakers wool clamp-resist pattern dyed (itajime shibori) black 37 with a blue and red geometric pattern By Yusuke Takahashi (Japanese, b. 1985) ISSEY MIYAKE MEN, Spring/Summer 2014 Jacket: wool plain weave and polyester/polyurethane-blend knit; trousers: wool plain weave; sneakers: suede; jacket and trousers: clamp-resist dyed with hand coloring Collection of The Kyoto Costume Institute, AC13266 15-32AD. Cat. 32

Design featuring gray wool clamp-resist dyed (itajime shibori) black with a blue and red geometric pattern Shibori Shibori Shibori dyeingShibori techniques create a variety of patterns and textures in fabric. Te-kumo (spiderweb) shibori involves pleating, then Shibori dyeingShibori techniques dyeing techniques create acreate variety a variety of patterns of patterns and and textures textures binding cloth. In Miura shibori (looped binding) thread is wrapped in fabric. Te-kumoin fabric. (spiderweb) Te-kumo (spiderweb) shibori shibori involves involves pleating, pleating, then then once around each small section of fabric, allowing dye to seep into binding cloth.Shiboribinding In Miura cloth. shibori In Miura (loopedshibori (looped binding) binding) thread thread is iswrapped wrapped the bound areas.once aroundThe works each small here section update of fabric,traditional allowing methods dye to seep by into once around each small section of fabric, allowing dye to seep into the bound areas. The works here update traditional methods by retaining boundShibori protrusions dyeing techniques in order create to producea variety of a patterns stretchy, and form-textures the bound areas.retaining The bound works protrusions here update in order traditional to produce amethods stretchy, form- by fitting fabric;in by fabric. combining Te-kumo (spiderweb)itajime shibori shibori (where involves fabric pleating, is thenclamped retaining boundfitting protrusions fabric; by combining in order itajime to produce shibori (where a stretchy, fabric is form-clamped binding cloth. In Miura shibori (looped binding) thread is wrapped between woodbetween blocks) wood with blocks) hand with coloring; hand coloring; and andby applyingby applying shibori shibori fitting fabric;once by combiningaround each smallitajime section shibori of fabric, (where allowing fabric dye is to clampedseep into tying techniquestying techniquesto Super toOrganza, Super Organza, woven woven from from filaments filaments of of between woodthe boundblocks) areas. with The hand works coloring; here update and traditional by applying methods shibori by polyester, andpolyester, stitching and itstitching to create it to createa sculptural a sculptural silhouette. silhouette. tying techniquesretaining to Superbound protrusions Organza, in woven order to from produce filaments a stretchy, of form- polyester, andfitting stitching fabric; by it combiningto create itajime a sculptural shibori (where silhouette. fabric is clamped between wood blocks) with hand coloring; and by applying shibori tying techniquesPullover to Super Organza, woven from filaments of 35Pulloverpolyester, and stitching it to create a sculptural silhouette. By Maurizio Galante (Italian, b. 1963) 35 Pullover Maurizio Galante, Haute Couture Collection, Autumn/Winter 1994 By Maurizio Silk,Galante tie-dyed (Italian, b. 1963) 35 Maurizio Galante,Collection Haute of The Couture Kyoto Costume Collection, Institute ,Autumn/Winter AC9155 94-28AB, gift1994 of By Maurizio PulloverGalante (Italian, b. 1963) Silk, tie-dyedMr. Maurizio Galante. Cat. 31 35Maurizio Galante, Haute Couture Collection, Autumn/Winter 1994 Collection ofBy The Maurizio Kyoto Galante Costume (Italian, Institute b. 1963), AC9155 94-28AB, gift of Silk, tie-dyedDesign featuring a spiderweb binding pattern (te-kumo shibori) Mr. MaurizioMaurizio Galante Galante,. Cat. 31Haute Couture Collection, Autumn/Winter 1994 ShiboriCollection ofSilk, The tie-dyed Kyoto Costume Institute, AC9155 94-28AB, gift of Mr. MaurizioCollection Galante of. Cat.The Kyoto 31 Costume Institute, AC9155 94-28AB, gift of Design featuringMr. Maurizio a spiderweb Galante. bindingCat. 31 pattern (te-kumo shibori) Shibori dyeing techniquesDress create a variety of patterns and textures in fabric. Te-kumo (spiderweb) shibori involves pleating, then 36Design featuringDesign a featuring spiderweb a spiderweb binding binding pattern pattern (te-kumo (te-kumo shibori shibori)) binding cloth. InBy Miura Iris shiborivan Herpen (looped (Dutch, binding) b. 1984) thread is wrapped once around eachIris small van Herpen,section of Haute fabric, Couture allowing Collection, dye to seep Autumn/Winter into 2016 the bound areas. The works here update traditional methods by Dress Polyester monofilament organza, shibori tied, and cotton/elastane- retaining bound protrusions in order to produce a stretchy, form- blend twill 36 fitting fabric; by Dresscombining itajime shibori (where fabric is clamped Dress Collection of The Kyoto Costume Institute, AC13436 2016-17. Cat. 33 betweenBy36 Iris woodvan Herpenblocks) with (Dutch, hand coloring; b. 1984) and by applying shibori 36 tyingIris vantechniques Herpen,By to IrisSuper Haute van Organza, Herpen Couture (Dutch,woven Collection, from b. 1984) filaments Autumn/Winter of 2016 Design featuring Super Organza (Ten’nyo no hagoromo) fabric with polyester,By Iris van and stitchingHerpenIris van itHerpen, (Dutch,to create Haute ab. sculptural 1984) Couture silhouette. Collection, Autumn/Winter 2016 Polyester monofilamentshibori tying technique organza, shibori tied, and cotton/elastane- Iris van Herpen,Polyester Haute monofilament Couture organza,Collection, shibori Autumn/Winter tied, and cotton/elastane- 2016 blend twill blend twill Polyester monofilament organza, shibori tied, and cotton/elastane- CollectionPullover ofCollection The Kyoto of The Costume Kyoto Costume Institute Institute, AC13436, AC13436 2016-17. 2016-17. Cat. Cat. 33 35blend twill CollectionBy of MaurizioDesignJacket, The GalanteKyoto featuring trousers, (Italian, Costume Super b. 1963) andOrganza Institute sneakers (Ten’nyo, AC13436 no hagoromo 2016-17.) fabric Cat. with 33 Design featuringMaurizio Galante, Super Haute Organza Couture Collection, (Ten’nyo Autumn/Winter no hagoromo 1994 ) fabric with 37 shibori tying technique Silk, tie-dyed shibori tyingCollection Bytechnique Yusuke of The Kyoto Takahashi Costume (Japanese, Institute, AC9155 b. 1985) 94-28AB, gift of Design featuringMr. MaurizioISSEY Super GalanteMIYAKE. Cat.Organza MEN, 31 Spring/Summer (Ten’nyo no 2014 hagoromo) fabric with shibori tyingJacket: technique wool plain weave and polyester/polyurethane-blend knit; Design featuring a spiderweb binding pattern (te-kumo shibori) Jacket,trousers: wool trousers, plain weave; and sneakers: sneakers suede; jacket and trousers: 37 clamp-resist dyed with hand coloring Jacket, trousers,ByCollection Yusuke ofTakahashi The and Kyoto sneakers(Japanese, Costume Instituteb. 1985), AC13266 15-32AD. Cat. 32 Dress 37 ISSEY MIYAKE MEN, Spring/Summer 2014 36Jacket, trousers,Design featuring and gray sneakers wool clamp-resist dyed (itajime shibori) black By YusukeBy TakahashiIrisJacket: van Herpen wool (Japanese,(Dutch, plain b.weave 1984) andb. 1985) polyester/polyurethane-blend knit; Iris vanwith Herpen, a blue Haute and Couture red geometric Collection, patternAutumn/Winter 2016 37 ISSEY MIYAKEtrousers: MEN, wool Spring/Summer plain weave; sneakers: 2014 suede; jacket and trousers: Polyesterclamp-resist monofilament dyed organza, with shiborihand coloringtied, and cotton/elastane- By Yusukeblend Takahashi twill (Japanese, b. 1985) Jacket: woolCollection plain weave of The and Kyoto polyester/polyurethane-blend Costume Institute, AC13266 15-32AD. knit; Cat. 32 ISSEY MIYAKECollection ofMEN, The Kyoto Spring/Summer Costume Institute, AC13436 2014 2016-17. Cat. 33 trousers: wool plain weave; sneakers: suede; jacket and trousers: Jacket: wool plain weave and polyester/polyurethane-blend knit; clamp-resistDesignDesign dyed featuring featuringwith Super hand Organza gray coloring wool(Ten’nyo clamp-resist no hagoromo )dyed fabric (withitajime shibori) black trousers: shiboriwoolwith tying plain a techniqueblue weave; and red sneakers:geometric pattern suede; jacket and trousers: Collection of The Kyoto Costume Institute, AC13266 15-32AD. Cat. 32 clamp-resist dyed with hand coloring Collection of The Kyoto Costume Institute, AC13266 15-32AD. Cat. 32 Design featuringJacket, trousers, gray wool and clamp-resist sneakers dyed (itajime shibori) black 37with a blue and red geometric pattern Design featuringBy Yusuke Takahashi gray wool (Japanese, clamp-resist b. 1985) dyed (itajime shibori) black ISSEY MIYAKE MEN, Spring/Summer 2014 with a blueJacket: and wool red plain geometric weave and polyester/polyurethane-blend pattern knit; trousers: wool plain weave; sneakers: suede; jacket and trousers: clamp-resist dyed with hand coloring Collection of The Kyoto Costume Institute, AC13266 15-32AD. Cat. 32

Design featuring gray wool clamp-resist dyed (itajime shibori) black with a blue and red geometric pattern

Japan Pop Japan Pop Japan39Japan PopTunic, jacket,Pop trousers, and sneakers By Jonathan William Anderson (Irish, b. 1984) Loewe, Spring/Summer 2016 Tunic, jacket,Tunic: wool/nylon-blend trousers, andjacquard sneakers jersey; jacket: nylon ; 39 Tunic,trousers: jacket,cow leather; trousers, sneakers: and cow leathersneakers with printing ByTunic,39 Jonathan jacket,Collection William trousers, ofAnderson The Kyoto (Irish,Costumeand sneakersb. Institute 1984), AC13382 2016-6AE. Cat. 47 39 Loewe, Spring/SummerBy Jonathan William 2016 Anderson (Irish, b. 1984) By JonathanLoewe, William Spring/Summer Anderson (Irish, 2016 b. 1984) Tunic: wool/nylon-blendTunic:Design wool/nylon-blend featuring jacquard robot motifs jacquard jersey; from jersey; thejacket: anime jacket: nylon Mobile nylon gauze; Suit gauze; Gundam Loewe, Spring/Summer 2016 trousers: cowtrousers: leather; cow sneakers: leather; sneakers: cow leather cow leather with with printing printing CollectionTunic: wool/nylon-blend ofCollection The Kyoto of TheCostume jacquard Kyoto Costume Institute jersey; Institute ,jacket: AC13382, AC13382 nylon 2016-6AE. 2016-6AE.gauze; trousers:Cat. 47 cowCat. leather; 47 sneakers: cow leather with printing Collection ofSuit The Kyotoand hat Costume Institute, AC13382 2016-6AE. 40Cat. 47 Design featuring robot motifs from the anime Mobile Suit Gundam Design featuringBy Nozomi robot Ishiguro motifs (Japanese, from the b.anime 1964) Mobile Suit Gundam NOZOMI ISHIGURO HAUTE COUTURE, Spring/Summer 2015 Design featuringWool/polyurethane-blend robot motifs from plain the weave anime with Mobile printing Suit Gundam SuitCollection and of hat The Kyoto Costume Institute, AC13184 2014-41AE. 40 Cat. 46 Suit and hatBy Nozomi Ishiguro (Japanese, b. 1964) 40 NOZOMIDesign featuring ISHIGURO motifs HAUTE of onomatopoeia COUTURE, frequently Spring/Summer appearing 2015 in BySuit Nozomi and IshigurohatWool/polyurethane-blendJapanese (Japanese,manga b. plain 1964) weave with printing Collection of The Kyoto Costume Institute, AC13184 2014-41AE. 40 NOZOMI ISHIGURO HAUTE COUTURE, Spring/Summer 2015 Cat. 46 Wool/polyurethane-blendBy Nozomi Ishiguro (Japanese, plain weave b. 1964) with printing NOZOMI ISHIGURO HAUTE COUTURE, Spring/Summer 2015 Collection ofDesign The Kyoto featuring Costume motifs of Institute onomatopoeia, AC13184 frequently 2014-41AE. appearing in Wool/polyurethane-blendCat. 46 Japanese manga plain weave with printing Collection of The Kyoto Costume Institute, AC13184 2014-41AE. DesignCat. 46 featuring motifs of onomatopoeia frequently appearing in Japanese manga Design featuring motifs of onomatopoeia frequently appearing in Japanese manga Large Print Labels

Do not remove from gallery