Woman's Kimono by Margi Herberger

Kimono are seemingly one of the most integral parts of the Japanese culture in that kimono are one of the first things to be thought of when Japan is mentioned. They have been present for centuries, and, like all clothing, have undergone countless style changes. Through different designs, inspirations, and the family inscriptions, kimono show value and deeper meanings of images and ideas. Structures of the fabrics and the designs on kimono are mostly unique to each one. Through time, for example, the amount of patterns went from spread across, then began to keep more towards the bottom of the kimono. However, this only applies to a majority of kimono. There were still some that had full, repeating patterns. The use of different silks also changed. The black colored silk of this kimono was used by the higher classes. The red silk lining the inside was considered as inferior and of much lesser value. It was the main, or outside layer, of peasant kimonos. However, in later years, this silk became valuable through its texture, and was reserved for the outer layer of kimonos. The black of this kimono was made by repeatedly dyeing the fabric indigo, and the designs were created using a yuzen pattern. This is done by taking a rice resin and outlining the desired design, then dyeing specific sections, and finally setting the dye. Because of the base color and the location of the main design, this specific kimono was probably made during the Meiji period, or about the late nineteenth century. It was also around this time that Western (European) styles were becoming more and more popular in Japan. It is suggested that black kimono were created using inspiration of Western suits, which were usually black in color. The style of this kimono, however, is consistent with kurotomesode. Kurotomesode kimonos represent high status, class, and importance. They were worn to weddings by the mother of the bride and the groom. In fact, they are still worn in weddings for the same reason today. Kimono of this style can be rented out today for the same reason.  Japan has plenty of these opportunities, although these services are usually geared towards the Western consumer. Even the design itself has a connotation. The images on the kimono are peony flowers, leaves, a shoulder drum, and a drum stick. Given the peony, this kimono would be worn in the spiring, just before the peonies bloom. However, given the weight of the fabric it would be in early spring when it is just beginning to change temperatures. Other images, such as the crane, are used to promote longevity and fortune. This is also portrayed through brighter colors, and other animals like the tortoise. Other colors, like blue, are said to repel snakes and insects. By combining colors and images, one can create stories and well wishes to both the wearer and guests or acquaintances. Taking most designs and adding on gold accents is one way to dress up the look. Specifically called “kinsai,” is adds flare and purpose to the depiction, meaning, situation, and the wearer. Then there is the crest. The crest is present on the front and back of both shoulders and the center of the back. Crests are very important to Japanese history and culture because it shows what family one belongs to. It is a legacy that is passed down the generations. These family crests are referred to as kamon, and everyone within a kinship group uses a specific crest. This does not mean that every kimono has to have a set of crests decorating it. Kimonos that have family crests are typically passed down to the next generation or simply kept within the family. This particular crest is called go-san no kiri (5-3 Pawlonia, or Foxglove). It is quite a common crest, and is not specific to any family. The go-san no kiri crest is very similar to the go-shichi no kiri crest (5-7 Pawlonia, or Foxglove), which is the family crest of Toyotomi Hideyoshi. The go-shichi no kiri is now the crest that represents Japanese leaders. The biggest, if only, difference between these two crests is the number of flowers on top of the three leaves. Go-shichi no kiri has five flowers to the sides and seven flowers in the middle, while go-san no kiri only has three flowers to the sides and five flowers in the middle. This is one of three crests that reflect similarities to Toyotomi Hideyoshi’s crest. This crest can be traced to an eighteenth century kabuki play called Kinmon Gosan no Kiri, or Sanmon Gosan no Kiri. Specifically from an advertisement published in 1776. The play was first performed in 1778. Kabuki plays are known for their chaotic, action, and ritual packed visuals. This includes ritual seppuku and battles. The purpose of the go-san no kiri crest, was that one of the characters was based off of Toyotomi Hideyoshi himself. Thus, a different version of his crest was created. However, the go-san no kiri crest is not limited to the kabuki play. It is a fairly common crest that extends to people who do not have a specific family crest. As previously mentioned, kurotomesode kimono can be rented out or purchased. Being that this crest does not belong to one person or family, this crest is used in many contexts. This includes rented and sold kimono. This kimono could be no different than the rented kimono. There is a possibility that it was a rented piece that made its way to the Illinois State Museum merely by chance. Either way, this kimono is a great example of how style and meaning have both changed and adjusted over time. From the crest, the colors, and the depictions, kimonos are a staple for the change of Japanese style and the expression of the Japanese people.