The evolution of textile design in Japanese Kimonos
The ten types of Japanese Kimonos, the making of these and accessories. The importance of designing the fabrics for Kimonos in Japan. And the Geishas in Kimonos in Gion, Kyoto.
For the Japanese the significant meaning in a kimono is in the design in the fabric, which expresses the gender, age, wealth, status and taste of each individual. Today the kimono is not an everyday clothing but kimonos are still worn at special occasions such as weddings, tea ceremonies and festivals.
The Kimono Construction
The famous Japanese kimono means "the thing worn." The word is derived from the verb "ki," which means "to wear," and the noun "mono," which means "thing." It was during the Momoyama period (1573-1603) that the kimono became the principal piece of clothing for both women and men of all classes, although kimonos had already been introduced in the Heian period (794-1192). Back then, kimonos were known as "kosode," meaning "small sleeve."
When it comes to the construction of kimonos, the pattern design is quite simple: straight-seamed robes constructed with zero cutting waste. A single bolt of fabric, usually 12 meters long and 40 centimeters wide, is typically used to cut two long continuous panels for the main body (mae-migoro), another two panels for the sleeves (sode), two half-width panels for the overlap (okumi), and a narrower section for the collar (eri). A different fabric, often decorative, is used as the inner lining (do-ura); in the past, a person’s wealth determined how detailed the inner lining was.
A very important part of a kimono is the sash called "obi," a wide and long belt (up to 7 meters) that secures the garment. The obi also functions as a corset, helping the female wearer maintain a straight posture.
Five Types of Obis
Tsuke obi: Designed to help older women put on an obi by themselves.
Nagoya obi: Can be formal or casual, depending on the colors used.
Hanhaba obi: An unlined and informal obi that goes with a yukata or everyday kimono.
Fukuro obi: The most formal kimono obi in contemporary use.
Maru obi: The most formal kimono obi, featuring an ornate pattern running along the entire length on both sides. These are bulky and heavy, typically worn by Geishas and Maikos. When a Maiko wears a Maru obi, the symbol of her Geisha house is visible on the bottom.
A men’s obi is much simpler, thinner, and less restrictive, with fewer styles compared to the female obi.
Types of Kimonos
Furisode: Known as the most formal type of kimono, worn by unmarried women. There are three variations based on sleeve length: Kofurisode (short sleeves), Chu-furisode (medium sleeves), and Ofurisode (long sleeves, almost reaching the ground).
Hikizuri: Worn by wealthy women of high rank before the Meiji era (1868-1912). Hikizuri means "trailing skirt" due to its length and is mainly worn by Geishas, Maikos, or traditional Japanese dance performers.
Tomesode: The most formal kimono type for married women. The pattern design is always located below the waist and may include gold. This kimono type is worn at formal events like weddings and tea ceremonies.
Houmongi: Meaning "visiting wear," this semi-formal kimono type can be worn by both married and unmarried women. It comes in various colors and designs suitable for ceremonies and semi-formal house parties. The pattern design flows over the shoulder to the seams in the back, visible on the sleeves and below the waist.
Iro Muji: A simple kimono with a plain color, free of patterns.
Komon: A casual kimono choice featuring a repeating pattern, often with vertical stripes.
Yukata: A lightweight cotton kimono that requires no undergarments, making it perfect for summer use, especially during festivals. The yukata is the most popular type of kimono in Japan.
The Evolution of Textile Design within Kimonos
The Edo period (1603-1868) was a flourishing time for Japan, marked by over 200 years without external influences, allowing for significant advancements in textile arts. New decorative techniques and patterns emerged.
During the Meiji period (1868-1912), kimono design and styles began to reflect technological changes in the textile sector. Japan was the first country to modernize silk production, positively impacting the economy. At that time, Kyoto, the capital of Japan, was known as the luxury textile city. Artisans in the Nishijin area, Kyoto’s textile heart, brought new weaving skills from abroad (1872). Lyon, France, facilitated the transfer of jacquard weaving technology to Kyoto, leading to the operation of the first jacquard loom in 1877. The Jacquard system, developed in France in 1804-05 by Joseph-Marie Jacquard, improved the original punched-card design of Jacques de Vaucanson's loom from 1745. The punched cards controlled the loom's actions, allowing for the automatic production of intricate, more accurate woven patterns.
Furthermore, chemical dyes were introduced to Japan when artisans attended the Vienna International Exposition in 1873. By 1895, 7,000 jacquard looms were operating in the Nishijin area, utilizing the advantages of chemical dyes to achieve vibrant colors.
Meisen Kimono Designs
In the late 19th century, the price of silk kimonos decreased due to the discovery of a new technique called "katazome," a stencil-printing method perfected in 1879 by Kyoto dyer Hirose Jisuke using a rice paste known as "utsushimori."
Meisen refers to smaller towns around Tokyo, such as Isezaki and Ashikaga, where weavers began using double or deformed silk cocoons to create robust, less expensive silk fabrics. The Meisen technique, known as "hogushiori," meaning "to unravel and weave," was developed in Isezaki in 1909 by Shiraiishi Kai. This method involved mixing rice paste with chemical dyes and applying it using stencils on the warp (vertical) threads with a spatula (one stencil per color). This technique improved the dyeing and weaving process, allowing for cleaner and sharper motifs, and kimonos made using the Meisen printing technique became widely popular among urban middle-class women.
Meisen designs from the book Kimono Meisen The Karun Thakar collection.
Vintage Kimono shopping in Tokyo
At the Oedo Kazuko shop in Tokyo, I purchased four different vintage kimonos, varying in length and age. For example, kimono number 4 is an authentic 80-year-old long kimono, embroidered with silk and gold details, featuring diverse storytelling through its compositions.
Geishas & Kimonos
A Geisha, or Geiko, is a woman trained in the arts of music, singing, and dancing. In Kyoto, these women are called Geikos, while in Tokyo, they are known as Geishas. A Maiko, on the other hand, is an apprentice Geiko/Geisha. She is typically a younger woman or even a child training in the arts for five years. The literal meaning of Maiko is "dancing child." In Tokyo, an apprentice Geisha is referred to as a "hangyoku," meaning "half-jewel," as they used to be paid half of what a fully qualified Geisha earned.
Traditional geta sandals elevate the wearer above the ground with two wooden slats, keeping the kimono clean since it does not touch the ground. Geta can be very high or low, depending on the season and the clothing worn. The strap on the geta is called "hanao," usually made of cotton with traditional Japanese motifs. Another type of shoe is the zori, which is not made from wood and features a taller wedge-shaped heel covered in fabric.
Okubo sandals are also referred to as pokkuri or bokkuri geta, named for the sound they make when walking. They are worn exclusively by apprentice Geishas, or Maikos. The color of the strap indicates the Maiko’s ranking; for example, a red strap signifies that the Maiko has just begun her training. All three types of shoes are worn with specially made socks called "tabi," which feature a split toe and are usually white.
Wandering the streets of Gion,Kyoto wearing a Kimono
I had the incredible experience of being transformed into a Maiko for a few hours, a dream I’ve held for years while admiring the Geisha's distinctive look and style. At Maiko Aya in the Gion area of Kyoto, I got to live out this aspiration! The hair, of course, is a wig—rather heavy, actually. Under the kimono, I wore an undershirt called "nagajuban," which protects the kimono from sweat, as kimonos are difficult to clean. I also wore a long skirt that is revealed when lifting the kimono. Beneath the obi, there were three additional layers, creating a stable foundation before the 6-meter-long obi, which weighed 7 kilograms, was wrapped around my waist.