Term Paper on "Kimono History and Contemporary Fashion Design Influence"

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Kimono History And Contempory Fashion Design Influence

The kimono has become one of the most notable and recognizable elements of Japanese culture. If we were to name characteristics of Japanese civilization, the kimono would most certainly be amongst them. Although nowadays Japanese dress almost uniformly in Western style, the kimono has remained not only a tradition, but a way of life in many parts of the country, a way to venerate aesthetics. Thus, although the kimono as such has almost disappeared from the daily wear of the people, it is recognizable in its pervading influence on the contemporary worldwide fashion.

The kimono appeared rather late in Japanese history, at the beginning of the nineteenth century, derived from the traditional, multilayered dress called "kosode." As this multilayered garment was very encumbering for the wearer and only fit for a very sedentary life, the kimono appeared in its stead at the end of the Edo period. When it came into use, the kimono was an alternative for "yofuku" or Western clothing, which had already been adopted in Japan, to some extent, at the end of the nineteen century.

The term "kimono" means simply "things to wear," but its history and artistic designs contradict this unassuming phrase. In spite of the simple tailoring and the straight lines of the cut, the kimono is a very sophisticated dress precisely because it invites the use of highly artistic, complicated decorations. The traditional kimono is a very simple garment with regard to its shape, being made only of rectangular pieces of cloth assembled together. The kimono can be adjusted in lengths according to the body of the wearer. The tailoring f

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or the women's and men's kimonos is almost identical, the only difference being the shape of the sleeves, which are square for men and more rounded for the women. The kimonos are usually made of silk, but other types of fabrics can be used as well, such as crepes, spun silk, silk gauze and so on.

What is actually spectacular about the traditional kimono is the intricate and artistic design which embellishes the piece of cloth. The designs on the kimonos are either dyed or painted on or made as embroideries. The textile design represents an art in itself in the Japanese culture. The design was a tribute to aesthetics first of all, but also a form of cultural expression. Through the specific color and design, the kimonos embedded the wearer in a certain recognizable social category, marital status and so on. The designs were inspired on the one hand by religious motifs, by important literary works as the Tale of Genji or the Tales of Ise, by folkloric pieces such as Momotar?, the Peach Boy or Oni no Nembutsu (the Devil's Prayer) and so on.(Cort, 1973, 122) Other themes for embroidery or design were symbolic images of animals, such as the turtle, natural phenomena, plants and so on. The geometrical textile patterns used were, for example the diamond pattern, the tatewaku pattern, "parallel undulating lines arranged regularly along the warp of the textile so that adjacent lines define oval lozenges," the karakusa pattern (scrolling vine), ishi-datami pattern (paving stone) and many more (Cort, 1973, 125-128) in short, the plain cut of the kimono, which hides the human body is a true repository of abstract philosophy and art.

There are many styles of kimonos, which vary according to the occasion, season, sex, marital status and so on. First of all, the women's kimonos are considerably richer in pattern and gaudier in color than the men's. Although the cut stays almost the same, it is the women's kimonos that display the artistic designs. Also, the kimono of an unmarried woman used to differ considerably from that of a married one: the unmarried woman's dress has to have long sleeves and has a rich pattern and embroidery, whereas that of the married woman has shorter sleeves and more sober colors. The colors are also significant. The purple kimonos used to be a symbol of imperial power at first, although they could be worn by nobles as well. The colors were usually specific for the season also, the white and green for example being used for the early spring, the yellow and brownish for summer etc. Usually in white, the wedding kimono is also referred to as shiro maku, where shiro means white and maku means pure. Additionally to the white kimono, used for the wedding ceremony, Japanese women use the uchikake, a bright red cloth which is worn over the white kimono at the reception. Lavishly embroidered, the uchikake is richly decorated in silk with traditional models.

Another very important part of the kimono is the obi, or the bow that is tied over the waist. The obi is a piece of very ornamented cloth, which can be as long as thirteen feet and as wide as one foot. Traditionally, tying the obi was the most complicated part of dressing in a kimono, especially because of the complicated butterfly or rose- shaped big knots that were made in the back. For casual or more standardized wear, these bows have been reduced in size and are usually found ready-made.

Thus, the kimono is at once a very simple apparel, in terms of shape and a very complex one in terms of design and artistry. The contemporary fashion has been significantly influenced by the traditional Japanese dress, both in its obvious borrowings from the Japanese style, and in the more recondite features. During the Meiji period (1868-1912) the Japanese were first exposed to the influence of the West. (Orzada) at about the same time, the West also discovered the particularity of the Japanese designs, and began to be fascinated with Oriental art.

As Richard Martin observes, the kimono influenced Western designers since 1960 even in the least evident forms of dressing- for example, loose clothes that no longer fit tightly to the body. Generally, Western culture used to be prone to respecting the form of the human body, and adjusting the dress to it. The ornaments that embellished the dress were usually in the form of jewelry or fringes. The most sumptuous dresses during the Renaissance for instance, were rich in material and shape, but always adjusted to the human body so as to reveal, at least in part, its forms. Tailoring usually obstructs and compels the pattern of the cloth; the Japanese influence is thus an alternative to the Western tailored garments that respected, first of all, the form of the body; it is a tendency towards abstraction, towards design and artistic embroidery. As Richard Martin notices, the impact of the Japanese kimono on the Western fashion should not be underrated. First of all, the contemporary designers focus a lot more on the abstract function of the dress than they used to: "It is impossible to describe and analyze late twentieth-century fashion in Europe and America without taking account of the substantive contribution of Japanese design. In this, I describe no phase of exoticism, but a change in fashion at its matrix and the resonant changes of fashion in its system in which the West is now ever changed by the presence of Japanese fashion and its ethos. The 'kimono mind' is our contemporary perspective on fashion worldwide."(Martin, 1995, 215) Martin even proposes thus an special term that can describe the main characteristics of the world of fashion today: the "kimono mind," that is the very basic mode of thought in fashion has been modified under the Japanese influence. Thus, the most important aspects that have been modified in contemporary fashion are, on the one hand the loose form of the garments, that resembles the kimono and does not copy the form of the body, the tendency towards swaddling the body more than dressing it in something that would fit: "...the body carries the garment organically, but that the garment may secure its own expression beyond that which is merely the body's double or interpreted silhouette. Of course, the propensity to wrapping in place of the tailored definition of the body is one that has profound ramifications for contemporary dress, promoting both oversizing as a model and a virtual one-sizefits-all aptitude heretofore unknown in high-style Western dress. Cloaking and swaddling the body is a manner that builds outward."(Martin, 1995, 219)

The main designers behind this major change were the Japanese designers, such as Issey Myiake,

Yohji Yamamoto, Rei Kawakubo or Kenzo. As Martin notes, Myiake and Kawakubo were the ones who added the tendency to represent different philosophical stances through dress, such as "hade" and "jimi," which stand for the boisterous and joyful life vs. spirituality and contemplation. Myiake and Kawakubo come very close to the spirituality and meditation represented in fashion. (Martin, 1995, 217)

Kenzo for example is considered the actual initiator of the Japanese expression in his designs. His first step in this direction is a break of the boundary between the East and the West, between the two separated cultures. He borrows heavily from the main… READ MORE

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Quoted Instructions for "Kimono History and Contemporary Fashion Design Influence" Assignment:

“

THe essay should be written as a research paper from, exp*****ng the Japanese Kimino history to contemporary desingers whose works are inspired by Komono designes today.

the basic structure of the essay should be similar to this order but using different words with more researched informations and explanations. You can add much more resources.

-------------this is an exmaple--------------------------

1. Brief intro

Today's kimono trace their origins to garments that were originally heavily influenced by a traditional clothing of China called hanfu through extensive cultural exchanges between China and Yamato period Japan beginning in the fifth century. However, kimono have seen much modification throughout Japan*****s history,

In the last fifty years, the wearing of Japan's traditional clothing has been relegated to a few special events, however, the kimono still represents the essence and the nature of Japan. The beauty of the kimono lies not only in its magnificent artistry of design and decoration, its underlining beauty is its ability to display the inner beauty and qualities of the wearer. In its straight lines the kimono does not accentuate the curves of the body as form fitting Western clothes do, in fact it negates them. However, because of the way the kimono is made and worn, it requires the wearer to move with grace and thoughtfulness, thus demonstrating the wearer's inner qualities. There are few things more graceful than someone who knows how to wear and move in a kimono. Kimono are worn by both women and men, but most of our discussions will be focused on women's kimono

2.Origin of a Kimono

The term kimono which means "things to wear" is a relatively recent term for the traditional clothing of Japan. The term began to be used in the early to mid 19th century to distinguish Japanese clothing from yofuku, western clothing. Prior to that, it was called a kosode, which means "small sleeves" which refers not with the length of the sleeve but the sleeve's opening. The kosode actually began as an undergarment some thirteen hundred years ago, when the ladies of the court were wearing the kasane shozoku, the many layers of garments seen during the late Nara through the Heian period of the 8th to 11th centuries. This layered look is also known in more modern terms as juni-hitoe which literally means "twelve unlined garments". Twelve is somewhat of an arbitrary number since sometimes up to twenty layers may have been worn.

3.What is a Kimono?

Patterns for making kimono are fairly simple and similar for everyone. It is essentially two widths of fabric draped over the shoulders and sewn in the back and sides. The sleeves are also folded-over widths sewn together to the other portion allowing for arm holes . There are also front pieces to allow the kimono to be wrapped and collar pieces and linings. This simple pattern changes very little from individual to individual. The height of kimono is adjusted by pulling up the kimono and letting it blouse over a small sash. The outer sash which holds everything together is called an obi, which we will discuss at greater length later.

4.Kimono Styles

There are many types and styles of kimono which are worn depending of the formality of the occasion, the age of the wearer, their marital status, time of day, and time of season. In addition to colors and styles, the way kimono are worn differs between whether it is a single or married woman. All of these factors come into play when deciding what kimono is appropriate to wear and how to wear it. Those conventions dictating which kimono is appropriate developed over the Edo period and those rules are still observed today when kimono are worn.

5.obi

All kimono are worn with an obi sash hat keeps the kimono wrapped around the body. Prior to the Azuchi-Momoyamama period the obi was a braided, blind stitched cord which was wrapped around the kimono. Its only function was to hold the wrapped kimono in place. It was tied in the front, side or back dependent on the preference of the wearer. In terms of its unique characteristic, obi has been widely affected contemporary designers. It is the most recognizable design concepts of Kimono isprations from contemporary fashion.

6.Fabrics and colors

People think of kimono as being made only of silk but they can actually be made from a number of different fabrics. There are different silks used ,such as reeled silk , crepes, spun silk, silk gauze, leno weave gauze. In addition to silk, fabrics made of cotton, linen, wool and now synthetic fibers are also used. Kimono are said to be either woven kimono or dyed kimono depending on whether the fabric was dyed before or after weaving. Kasuri (thread resist dyeing), striped, checked patterns are usually predyed before weaving.

7.colors and patterns

Colors are equally important in evoking feelings and mood. Everyone understood the allusions associated with the colors worn. Reds were considered sensual, and purple had an undying love connotation.

Colors also had seasonal appropriateness: white and green for early spring; pink, lavender and green for late spring; yellow with maroon for summer; purple or red with white for the fall. Of course, many of these color combinations followed the seasonal flowers, which were the most common motifs used to designate the seasonal dress codes. If a kimono is painted with a silver decoration (silver being a cool color) it is usually a summer kimono. pine, plum, and bamboo motifs are only seen in the winter, sakura cherry blossoms in the spring, iris in the early summer, chrysanthemums and red maples in the fall. All the colors associated with these plants and flowrs have their seasonal appropriateness

8. Christion Dior- John Galiano

The Christian Dior show, spring 2007, was a theatrical production as a fashion show could be. There was a Japanese theme throughout with models in geisha style makeup. And the backgrounds were gigantic versions of what they would be in real life. Kimonos, obis, and geisha makeup were re-designed, transformed into delicate translations of New Look peplum suits and full-skirted dance dresses.

.

2007 spring ready-to-wear, couture collection

-ì˜¬ê°€ë¯¸

-geisha make up

-obi

-japanes traditional (ê²Œë‹¤) shoes

9. Gucci - Tom Ford

Tom Ford took the idea of a kimono and portrayed it first as a simple silk beach cover-up, then as an elegant formfitting dress, painstakingly made from hand-painted strips of silk. He brought couture finesse to racer-back feathered dresses with the merest flip of a skirt. And with lightest touch, he wove white and rose gold into fragile ribbons to tie around wrists*****”the most modern-looking jewelry in Milan.

2003 spring ready-to-wear fashion show runway.

10. Emiko Miki

Miki, who says she refuses to follow European fashion trends, sent Japanese models down the catwalk at the Tokyo Collection in kimono-inspired couture featuring gadgets such as portable video screens.

11. Yohji Yamamoto

Ornamentation of the collar and center front bodice is traditionally found in the brocaded silks of the Japanese kimono which Yamamo adopted into his designs.

12. Issey Miyake

The relationship between the wearer's body and the traditional kimono is another reference that can be seen in much of Miyake's clothing. Unlike occidental dress, which tends to follow the body's contours through the use of bias cutting, padding and an overall tight fit, the kimono disguises the body's specific shape, and instead suggests the body's movements in the way the voluminous sleeves sway and the long trailing hem sweeps as the wearer moves.

Using lightweight fabrics, he recreated the looseness and volume of the traditional

Japanese kimono, although as the former fashion editor Georgina Howell has written,

"the point was the feeling of being inside a kimono, the comfort the body derives from the volume of air around the arms and shoulders".

13. closing

Because the cut of the kimono is so simple, Japanese textile artisans and designers focused their attention on the fabric itself and its surface decoration. The weight and texture of the cloth used for kimono conveys a wide range of tactile and visual sensations. The designs created by dyeing, weaving, embroidery and applied metal foils can be startling in their dynamic and asymmetric patterning.

------------an example------------------------------------

here are some example links but you can add any resourses such as book, web etc..

http://www.marlamallett.com/kimono.htm

komono character

http://articles.techrepublic.com.com/2100-1035_11-6167443.html

designer miki

http://www.yoshinoantiques.com/kimono.html

komono to recent

http://www.japanesekimono.com/obi_belts.htm

kimono cute

Vintage Japanese Kimono - 1

From the collection of MARLA MALLETT: TEXTILES

http://www.metmuseum.org/toah/hd/jafa/hod_2003.573.2.htm

Yoji

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it has to have appropriate bibliography and footnotes.

thank you .

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