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The , is a traditional Japanese garment and the national dress of Japan. The kimono is a wrapped-front garment with square sleeves and a rectangular body, and is worn left side wrapped over right, unless the wearer is deceased. The kimono is traditionally worn with a broad sash, called an , and is commonly worn with accessories such as zōri sandals and socks.
Kimonos have a set method of construction and are typically made from a long, narrow bolt of cloth known as a , though Western-style fabric bolts are also sometimes used. There are different types of kimono for men, women, and children, varying based on the occasion, the season, the wearer's age, and – less commonly in the modern day – the wearer's marital status. Despite the kimono's reputation as a formal and difficult-to-wear garment, there are types of kimono suitable for both formal and informal occasions. The way a person wears their kimono is known as .
The history of the kimono can be tracked back to the Heian period (794–1185), when Japan's nobility embraced a distinctive style of clothing. Formerly the most common Japanese garment, the kimono has fallen out of favour and is rarely worn as everyday dress now. They are most often seen at summer festivals, where people frequently wear the , the most informal type of kimono. More formal types are worn to funerals, weddings, graduations, and other formal events. Geisha and are required to wear a kimono as part of their profession, and (sumo wrestlers) must wear kimonos at all times in public. (1993). 083480283X, Weatherhill. 083480283X Despite the small number of people who wear it regularly and its reputation as a complicated garment, the kimono has experienced revivals in previous decades, and is still worn today as fashionable clothing in Japan.
In 718 CE, the Yoro clothing code was instituted, which stipulated that all robes had to be overlapped at the front with a left-to-right closure, following typical Chinese fashions. (1996). 9780876548974, The Textile Museum, Pomegranate Artbooks. ISBN 9780876548974 This convention of wear is still followed today, with a right-to-left closure worn only by the deceased.
Clothing used by the upper classes was significantly simpler to don and wear than dress from the following Heian period. Sleeves, while narrow, were long enough to cover the fingers, since status was associated with covering more of the body.
Women's clothing in the imperial palace became increasingly stylised in the formal , with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved jacket worn by both genders in the early 7th century. Others, such as the wrapped front robes also worn by men and women, were kept. Some elements, such as the skirt worn by women, continued to in a reduced capacity, worn only to formal occasions; the 裳 grew too narrow to wrap all the way around and became a trapezoidal pleated train. Hakama (trousers) became longer than the legs and also trailed behind the wearer.
During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the () garment—previously considered underwear—becoming outerwear by the time of the Muromachi period (1336–1573 CE). Originally worn with , the began to be held closed with a small belt known as an instead. The resembled a modern kimono, though at this time the sleeves were sewn shut at the back and were smaller in width (shoulder seam to cuff) than the body of the garment. During the Sengoku period (1467–1615) and the Azuchi–Momoyama period (1568–1600), the decoration of the developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the and , were almost never worn, allowing full-length patterns to be seen.
In response to the increasing material wealth of the merchant classes, the Tokugawa shogunate issued sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed patterns. 町人のきもの 1 寛文～江戸中期までの着物 Mami Baba. Sen'i gakkaishi vol.64 As a result, a school of aesthetic thought known as Iki developed. They valued and prioritised the display of wealth through an almost mundane appearance, and the concept of kimono design and wear continues to this day as a major influence.
From this point onwards, the basic shape of both men's and women's kimonos remained largely unchanged. The sleeves of the began to grow in length, especially amongst unmarried women, and the became much longer and wider, with various styles of knots coming into fashion, alongside stiffer weaves of material to support them.
In the Edo period, the kimono market was divided into craftspeople, who made the and accessories, , or wholesalers, and retailers.
Following the opening of Japan's borders in the early Meiji period to Western trade, new materials and techniques – such as wool and the use of synthetic dyestuffs – became popular, with casual wool kimonos being relatively common in pre-1960s Japan; the use of safflower dye () for silk linings fabrics (known as ; literally, "red silk") was also common in pre-1960s Japan, making kimonos from this era easily identifiable.
During the Meiji period, the opening of Japan to Western trade after the enclosure of the Edo period led to a drive towards Western dress as a sign of modernity. In 1871, Western clothing was adopted by both policemen and mailmen. After an edict by Emperor Meiji in the same year, the court, courtiers and bureaucrats moved to wearing Western clothing within their job roles, with the adoption of Western clothing by men in Japan happening at a much greater pace than by women. Following the trend of other positions, 1872 saw railway workers transitioning to Western clothing. It was not until 1877 until an edict similar to the one given by Emperor Meiji, was put in place by Empress Haruko for women. Initiatives such as the 東京婦人子供服組合 promoted Western dress as everyday clothing.
It was during the Taishō period that the modern formalisation of kimono and kimono types began to emerge. The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. As Western clothing increased in popularity for men as everyday clothing, the kimono industry further established its own traditions of formal and informal dress for women; this saw the invention of the , divisions of (short-sleeved) kimono for women, and . The bridal kimono Hope chest (), an uncommon practice of the upper classes in the Edo period, also became common throughout the middle classes; traditions of kimono bridalwear for marriage ceremonies were also codified in this time, which resembled the bridalwear of samurai-class women. Standards of at this time began to slowly graduate to a more formalised, neatened appearance, with a flat, uniform and a smooth, uncreased , which also resembled the "proper" of upper-class women. However, standards were still relatively informal, and would not become formalised until after World War II.
During the war, kimono factories shut down, and the government encouraged people to wear (also romanised as ) – trousers constructed from old kimono – instead. Fibres such as rayon became widespread during WWII, being inexpensive to produce and cheap to buy, and typically featured printed designs.Salusso, C. J. (2005). Rayon. In V. Steele (Ed.), Encyclopedia of Clothing and Fashion (Vol. 3, pp. 81-84). Charles Scribner's Sons. Cloth rationing persisted until 1951, so most kimonos were made at home from repurposed fabrics.
In the second half of the 20th century, the Japanese economy boomed, and silk became cheaper, making it possible for the average family to afford silk kimono. The kimono retail industry had developed an elaborate codification of rules for kimono-wearing, with types of kimono, levels of formality, and rules on seasonality, which intensified after the war; there had previously been rules about kimono-wearing, but these were not rigidly codified and varied by region and class. Formalisation sought perfection, with no creases or unevenness in the kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono. The kimono-retail industry promoted a sharp distinction between Japanese and Western clothes; for instance, wearing Western shoes with Japanese clothing (while common in the Taishō period) was codified as improper; these rules on proper dressing are often described in Japanese using the English phrase "Time, Place, and Occasion" (TPO). As neither Japanese men or women commonly wore kimono, having grown up under wartime auspices, commercial schools were set up to teach women how to don kimono. Men in this period rarely wore kimono, and menswear thus escaped most of the formalisation.).
Kimonos were promoted as essential for ceremonial occasions; for instance, the expensive worn by young women for was deemed a necessity. Bridal trousseaus containing tens of kimono of every possible subtype were promoted as de rigueur, and parents felt obliged to provide kimono trousseaus that cost up to 10 million yen (~£70,000), which were displayed and inspected publicly as part of the wedding, including being transported in transparent trucks.
By the 1970s, formal kimonos formed the vast majority of kimono sales. Kimono retailers, due to the pricing structure of brand new kimono, had developed a relative monopoly on not only prices but a perception of kimono knowledge, allowing them to dictate prices and promote more formal (and expensive) purchases, as selling a single formal kimono could support the seller comfortably for three months. The kimono industry peaked in 1975, with total sales of 2.8 trillion yen (~£18 billion). The sale of informal brand new kimono was largely neglected.
In the early years of the 21st century, the cheaper and simpler became popular with young people. Around 2010, men began wearing kimonos again in situations other than their own wedding, and kimonos were again promoted and worn as everyday dress by a small minority.
In 2019, the mayor of Kyoto announced that his staff were working to register "Kimono Culture" on UNESCO's intangible cultural heritage list.
In 2020, the Victoria and Albert museum staged an exhibition called Kimono: Kyoto to Catwalk, a "collection of around 300 garments, accessories, paintings, prints, photographs and film clips" relating to the history of the Kimono from the 17th century to the present. The final instalment of the exhibition's four-year international tour was at the V&A Dundee in 2024.
Modern kimonos are widely available in fabrics considered easier to care for, such as polyester. Kimono linings are typically silk or imitation silk, and often match the top fabric in fibre type, though the lining of some casual silk kimono may be cotton, wool or linen.
Many kimono motifs are seasonal, and denote the season in which the kimono can be worn; however, some motifs have no season and can be worn all-year round. Others, such as the combination of pine, plum and bamboo – a grouping referred to as the Three Friends of Winter – are auspicious, and thus worn to formal occasions for the entire year. Motifs seen on are commonly seasonal motifs worn out of season, either to denote the spring just passed or the desire for cooler autumn or winter temperatures. Colour also contributes to the seasonality of the kimono, with some seasons – such as autumn – generally favouring warmer, darker colours over lighter, cooler ones.
A number of different guides on seasonal kimono motifs exist, with some guides – such as those for tea ceremony in particular – being especially stringent on their reflection of the seasons. (Translated from the original Japanese: ) Motifs typically represent the flora, fauna, landscape or culture of Japan; one such example is cherry blossoms, a famously seasonal motif worn in spring until just before the actual cherry blossoms begin to bloom, it being considered unlucky to try and 'compete' with the cherries. Motifs are typically worn a few weeks before the official 'start' of any given season, as it is considered fashionable to anticipate the coming season.
Though men's kimonos historically displayed just as much decoration and variety as women's, in the modern era, the principal distinction of men's kimonos in terms of seasonality and occasion is the fabric. The typical men's kimono is a subdued, dark colour; black, dark blues, greens and browns are common. Fabrics are usually matte, in contrast to the occasional satin weaves of some women's kimonos. Some men's kimonos have a subtle pattern, and textured fabrics are more common in informal men's kimono. Informal men's styles may also feature slightly brighter colours, such as lighter purples, greens and blues. Sumo wrestlers have occasionally been known to wear quite bright colours, such as fuchsia, in their kimonos, which they are required to wear when appearing in public.
The term is used to refer to kimonos in general within Japan, particularly within the context of the kimono industry, as traditional kimono shops are called either gofukuten or gofukuya – with the additional character of ya meaning 'shop'.
Cotton and hemp fabrics are referred to generally as futomono, meaning "thick materials", with both cotton and hemp yarns being considerably thicker than silk yarns used for weaving. Cotton kimonos are specifically referred to in the context of materials as momenfuku, "cotton clothes", whereas hemp kimonos are known as asafuku, "hemp clothes", in Japanese, with the character for hemp – asa – also being used widely for hemp, linen and ramie kimono fabrics.
Outside of being re-woven into new fabrics, worn-out kimono have historically been recycled in a variety of ways, depending on the type of kimono and its original use. When the cloth is worn out, it may be used as fabric for smaller items or to create (patchwork) kimonos (which were also sometimes made for the sake of fashion). The fact that the pattern pieces of a kimono consist of rectangles, and not complex shapes, make reuse in garments or other items easier. are used to hold cloth together and decorate it. The cloth used for patchwork clothing must all be of similar fabric weight, drape, and handle.
Formal kimonos, made of expensive and thin silk fabrics, would have been re-sewn into children's kimonos when they became unusable for adults, as they were typically unsuitable for practical clothing; kimonos were shortened, with the taken off and the collar re-sewn to create , or were simply cut at the waist to create a side-tying jacket. After marriage or a certain age, young women would shorten the sleeves of their kimonos; the excess fabric would be used as a (wrapping cloth), could be used to lengthen the kimono at the waist, or could be used to create a patchwork undergarment known as a . Kimono that were in better condition could be re-used as an under-kimono, or to create a false underlayer known as a .
Children also traditionally wore , kimono made of a fancier material in the and upper back. (translator did not translate the full book text, but from the acknowledgements of vol 1 it sounds as if some of his translations might be incorporated into the work. Volume 1 came out in 1919, volume 2 in 1920. Note the work is in the public domain, therefore the fulltext is not copyright)
Some custom bolts of fabric are produced for especially tall or heavy people, such as sumo wrestlers, who must have kimono custom-made by either joining multiple bolts, weaving custom-width fabric, or using non-standard size fabric. For children, in the early 1900s, shorter lengths were used, and sometimes the body of the kimono was made only a single cloth width wide (). Tucks were also used to take in the garment; an outwards-facing pleat at each shoulder () and a kolpos-like overfold at the hip (), so that the child appeared to be wearing a sleeveless vest of the same fabric over their garment. These sewn tucks were let out as the child grew, and are mostly only seen today on the kimono of apprentice geisha in Kyoto, as apprentices previously began their training at a young age, requiring tucks to be let out as they grew. In the present day, apprentices begin their training in their late teenage years, and the tucks are retained merely as an anachronism.
Though adult women also retained a 'tuck' at the hip, this was a leftover from the trailing length of most women's kimono, which had previously been either held up by hand when walking or tied up loosely with a ; though kimonos were not worn as trailing towards the end of the 19th century, the excess length of most women's kimono remained, with the hip fold formalised and neatened into the of the modern day.
Kimonos have a set method of construction, which allows the entire garment to be taken apart, cleaned and resewn easily. As the seam allowance on nearly every panel features two that will not fray, the woven edges of the fabric bolt are retained when the kimono is sewn, leading to large and often uneven seam allowances; unlike Western clothing, the seam allowances are not trimmed down, allowing for a kimono to be resewn to different measurements without the fabric fraying at the seams. This was also used to prolong the life of the garment by reversing the sleeves (hiding the worn cuff hem in the shoulder seam) or the back panels (swapping the high-stress center seam and the low-stress sides), like the European custom of side-to-middling or end-to-middling bedsheets.
Historically, kimonos were taken apart entirely to be washed – a process known as . Once cleaned, the fabric would be resewn by hand; this process, though necessary in previous centuries, is uncommon in modern-day Japan, as it is relatively expensive.
Despite the expense of hand-sewing, however, some modern kimonos, including silk kimono and all formal styles, are still hand-sewn entirely; even machine-sewn kimonos require some degree of hand-sewing, particularly in finishing the collar, the hem, and the lining, if present. Hand-sewn kimonos are usually sewn with a single running stitch roughly to long, with stitches growing shorter around the collar area for strength. Kimono seams, instead of being pressed entirely flat, are pressed to have a 'lip' of roughly (known as the ) pressed over each seam. This disguises the stitches, as hand-sewn kimonos are not tightly sewn, rendering the stitches visible if pressed entirely flat.
These terms name parts of a kimono:
By the beginning of the Kamakura period, the was an ankle-length garment for both men and women, and had small, rounded sleeves that were sewn to the body of the garment. The was a relatively thin belt tied somewhat low on the waist, usually in a plain bow, and was known as a . During this time period, the fashion of wearing a draped around the shoulders, over the head, or as the outermost garment stripped off the shoulders and held in place by the , led to the rise of the – a heavily decorated over-kimono, stemming from the verb , worn unbelted over the top of the – becoming popular as formal dress for the upper classes.
In the following centuries, the mostly retained its small, narrow and round-sleeved nature, with the length of women's sleeves gradually increasing over time and eventually becoming mostly detached from the body of the garment below the shoulders. The collar on both men's and women's retained its relatively long and wide proportions, and the front panel kept its long, shallow angle towards the hem. During the Edo period, the had developed roughly modern kimono proportions, though variety existed until roughly the mid- to later years of the era. Men's sleeves continued to be sewn shut to the body of the kimono down most of their length, with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly detached from the body of the kimono. Men's sleeves were also less deep than women's kimono sleeves so that they did not get tied under the narrow around the hips, whereas on a woman's kimono, the long, unattached bottom of the sleeve could hang over the wider without getting in the way. Sleeves for both men and women grew in proportion to be of roughly equal width to the body panels, and the collar for both men's and women's kimono became shorter and narrower.
In the present day, both men's and women's kimono retain some historical features – for instance, women's kimono trailed along the floor throughout certain eras, and when the wearer went outside, the excess length would be tucked and tied underneath the in a hip fold known as the . The is now used for fine length adjustments, and takes up of excess length. A hand-sewn tuck across the back under the is used for coarse adjustments, and made deliberately weak so that the stitches will tear before the cloth does under tension. Men's kimono, on the other hand, are cut to the length of the wearer's body and tied with a narrow belt at the hips, with no extra fabric in the kimono's length for an overfold at the hip.
Formal women's kimono retain the wider collar of previous eras (made from a full -width instead of a half width), though it is always folded in half lengthwise before wearing – a style known as .
Women's kimonos are still worn trailing in some situations, such as onstage, in historical dramas, and by geisha and . In these instances, the kimono worn is constructed differently to a regular women's kimono: the collar is set back further into the neck, the sleeves are sewn to the body unevenly (further down the front than the back), and the body is elongated. This style of kimono is referred to as a or . Though the length of the kimono, collar style and sleeve construction differs for this type of kimono, in all other types of women's kimono, the construction is generally the same; the collar is set back only slightly into the nape of the neck, the sleeves are attached evenly only at the shoulder (not all the way down the sleeve length) and the kimono's length from shoulder to hem is ideally the entire height of the woman wearing it, to allow for the creation of the .
The high expense of some hand-crafted brand-new kimonos reflects the traditional industry, where the most skilled artisans practice specific, expensive and time-consuming techniques, known to and mastered only by a few. These techniques, such as hand-plied fabrics and hand-tied dotwork dyeing, may take over a year to finish. Kimono artisans may be made Living National Treasures in recognition of their work, with the pieces they produce being considered culturally important.
Even kimonos that have not been hand-crafted will constitute a relatively high expense when bought new, as even for one outfit, a number of accessories of the right formality and appearance must be bought. Not all brand-new kimono originate from artisans, and mass-production of kimono – mainly of casual or semi-formal kimono – does exist, with mass-produced pieces being mostly cheaper than those purchased through a (kimono shop).
Though artisan-made kimonos are some of the most accomplished works of textile art on the market, many pieces are not bought solely for appreciation of the craft. Unwritten social obligations to wear kimono to certain events – weddings, funerals – often leads consumers to purchase artisan pieces for reasons other than personal choice, fashion sense or love of kimono:
The high cost of most brand-new kimonos reflects in part the pricing techniques within the industry. Most brand-new kimonos are purchased through , where kimonos are sold as fabric rolls only, the price of which is often left to the shop's discretion. The shop will charge a fee separate to the cost of the fabric for it to be sewn to the customer's measurements, and fees for washing the fabric or weatherproofing it may be added as another separate cost. If the customer is unfamiliar with wearing kimono, they may hire a service to help dress them; the end cost of a new kimono, therefore, remains uncertain until the kimono itself has been finished and worn.
In contrast, kimonos bought by hobbyists are likely to be less expensive, purchased from second-hand stores with no such sales practices or obligation to buy. Hobbyists may also buy cheaper synthetic kimono (marketed as 'washable') brand-new. Some enthusiasts also make their own kimono; this may be due to difficulty finding kimono of the right size, or simply for personal choice and fashion.
Second-hand items are seen as highly affordable; costs can be as little as ¥100 (about US$0.90) at thrift stores within Japan, and certain historic kimono production areas around the country – such as the Nishijin district of Kyoto – are well known for their second-hand kimono markets. Kimono themselves do not go out of fashion, making even vintage or antique pieces viable for wear, depending on condition.
However, even second-hand women's are likely to remain somewhat pricey; a used, well-kept and high-quality second-hand can cost upwards of US$300, as they are often intricately woven, or decorated with embroidery, goldwork and may be hand-painted. Men's , in contrast, retail much cheaper, as they are narrower, shorter, and have either very little or no decoration, though high-end men's can still retail at a high cost equal to that of a high-end women's .
The modern kimono canon was roughly formalised after Pacific War, following fabric shortages, a generation unfamiliar with wearing kimono in everyday life, and the postwar revival of kimono sales by , traditional kimono shops. In previous centuries, types of kimono were not as distinct, with factors such as age and social class playing a much larger role in determining kimono types than they do presently. Beginning in the Meiji period, and following the Meiji Restoration and the abolition of class distinctions, kimono varieties began to change as Japanese society did, with new varieties being invented for new social situations.
The formality levels of different types of kimono are a relatively modern invention, having been developed between late Meiji- to post-war Japan, following the abolition of Edo period sumptuary clothing laws in 1868. These laws changed constantly, as did the strictness with which they were enforced, and were designed to keep the nouveau riche merchant classes from dressing above their station, and appearing better-dressed than monetarily-poor but status-rich samurai class.
Aspects of men's kimono still follow this extreme of . Bright, elaborate decoration is used on the lining of the (jacket), and on men's (underkimono), which is not worn as an outer layer outside the home, and so only shows at the neck and inside the sleeves. Women's were once bright and boldly-patterned (and were often kimono too damaged to use as an outer layer, repurposed), but are now typically muted pastel shades. The outside of men's garments tended towards subtle patterns and colours even after the sumptuary laws lifted, with blues and blacks predominating, but designers later came to use browns, greens, purples, and other colours in increasingly bold patterns.
Older people generally wear more subtle patterns, and younger people brighter, bolder ones.
Some fabrics are also worn only at certain times of year; , for instance, is a plain-weave fabric with leno weave stripes only worn in high summer (July and August), but is used for all types of kimono and for other garments, such as under-kimono and . Some fabrics – such as certain types of crêpe – are never seen in certain varieties of kimono, and some fabrics such as (heavy satin) silk are barely ever seen in modern kimono or altogether, having been more popular in previous eras than in the present-day.
Despite their informal nature, many types of traditional, informal kimono fabrics are highly-prized for their craftsmanship. Varieties of , , and fabrics woven from Musa basjoo are valued for their traditional production, and regularly command high prices.
Within the two realms of lined and unlined, further distinctions exist for different months. Lined kimonos are either made from transparent or gauze fabrics () or opaque fabrics, with kimono transitioning towards gauze fabrics at the height of summer and away from them as autumn begins. In one kimono guide for tea ceremony, at the start of the unlined season in June, fabrics such as (a type of silk crêpe noted as a more "wrinkle-resistant" form of ) and (a thicker type of with twisted silk threads) are recommended for wear. Following the beginning of the rainy season in some time in July, fabrics switch over to gauzier varieties, and highly-prized hemp fabrics such as are worn. (Translated from the original Japanese: ) Continuing into August, hemp, and continue to be worn; in September, they are still worn, but fabrics such as , worn in June, become suitable again, and opaque fabrics become preferred over sheer, though sheer may still be worn if the weather is hot.
In the same kimono guide, the first lined kimonos are worn in October, and the transition away from plainer opaque fabrics to richer silks such as is immediate. The richness of fabrics increases going into November and December, with figured silks featuring woven patterns appropriate. Coming into January, crêpe fabrics with a rougher texture become appropriate, with fabrics such as worn in February. Figured silks continue to be worn until June, when the unlined season begins again. In Japan, this process of changing clothes is referred to as koromogae.
Men's kimono sleeves are only ever one length, and women's sleeves are limited to a short length suitable for almost all types of kimono, or a longer length used for only one type of formal young women's kimono. In the modern day, the two lengths of women's sleeve worn on kimonos are length, which almost reaches the floor, and a shorter length, used for every other variety of women's kimono.
Before WWII, the length of women's kimono sleeves varied, with sleeves gradually shortening as a woman got older. During WWII, due to shortage of fabric, the 'short' length of women's kimono sleeves became standardised, and post-WWII, the realm of long kimono sleeves was narrowly curtailed to the realm of only – formal young women's and girl's kimono, where previously longer sleeves were seen on other varieties of dress, both formal and informal. Pre-WWII women's kimonos are recognisable for their longer sleeves, which, though not length, are longer than most women's kimono sleeves today.
Young women are not limited to wearing only , and outside of formal occasions that warrant it, can wear all other types of women's kimono which feature shorter sleeves.
Modern adaptations have further diversified kimono styles. Contemporary designers are blending traditional kimono elements with Western influences, resulting in hybrid forms like shorter hemlines, looser fits, or kimonos tailored for everyday street fashion. This modern interpretation of kimono allows younger generations to incorporate traditional attire into casual wear, maintaining the cultural heritage while embracing a modern aesthetic.
Men's are often dyed in dark colours, and can be made of the same material as the outer kimono, as some kimono fabric bolts () are woven with enough length to accommodate this. Men's are frequently more decorative than women's, often featuring a dyed pictorial scene in the upper back, such as a scene from The Tale of Genji.
In the late 19th and early 20th century, women's transitioned from being mostly red with bold white motifs to being white or light pastel colours. The dye technique previously used to achieve this, , fell out of fashion and knowledge and was rediscovered in 2010.
Unlike the , the is not considered an essential piece of kimono underwear, and a t-shirt and shorts are frequently substituted in its place.
In the present day, many are brightly coloured, featuring large motifs from a variety of different seasons. For women, they are worn with either a (half-width ) or a (a soft, sash-like ), and are often accessorised with colourful hair accessories. For men, are worn with either an informal or a . Children generally wear a with .
A is traditionally worn as a single layer or over a (an underkimono worn underneath the , featuring a simplified construction). may be worn over the top of a t-shirt and shorts. This distinguishes from a more-formal kimono, where a (also described as a , an underkimono resembling) is worn underneath, showing a second layer of collar at the neckline. However, some modern are worn with collared cotton featuring a collar of linen, cotton or , for occasions such as informal eating-out.
Woven geometric patterns (such as stripes) have no season, but others show images representing the season in general. Woven non-geometric patterns () are common. Small, dense patterns are often used; this is practical, as fine-scale patterns hides stains.
Now that kimonos are not typically worn as informal clothing, are not worn as often as formal kimono, though they have a wider range of suitable use. are the most formal type of ; they may have one to three crests, with a small, fine pattern that appears to be a solid colour from a distance, and so resembles the more formal .
Similarities between and often lead to confusion, with some indistinguishable from ; often, are only distinguishable from by the size of the motifs used, with smaller, less fluid motifs generally considered to be , and larger, more fluid motifs considered to be .
A completely black mourning ensemble for women – a plain black , black and black – is usually reserved for those closest to the deceased. Those further away will wear kimono in dark and subdued colours, rather than a plain black kimono with a reduced number of crests. In time periods when kimonos were worn more often, those closest to the deceased would slowly begin dressing in coloured kimono over a period of weeks after the death, with the being the last thing to be changed over to colour.
Bridal are typically red or white, and often decorated heavily with auspicious motifs. Because they are not designed to be worn with an , the designs cover the entirety of the back.
A will form part of a bridal ensemble with matching or coordinating accessories, such as a bridal (bridal wig), a set of matching (usually mock-tortoiseshell), and a fan tucked into the kimono. Due to the expensive nature of traditional bridal clothing, few are likely to buy brand-new ; it is not unusual to rent kimono for special occasions, and Shinto shrines are known to keep and rent out for traditional weddings. Those who do possess already are likely to have inherited them from close family members.
Aside from their specialised construction, can resemble many other types of women's kimono in their decoration, fabric type, colour and sleeve length. The worn by geisha and their apprentices are formal kimono worn to engagements, and so are always made of fine silk, resembling kimono of formality and above in their pattern placement and background colour.
The worn by kabuki actors varies by role, and so can appear as the humble clothing of an Edo-period merchant's daughter, as well as the fine silk clothing of a samurai woman. These costumes may be made of polyester, as well as silk, informal silk fabrics, cotton, linen or hemp. Pattern placement, colour and design varies by role, with many roles having costume designs preserved from previous centuries.
The worn by people performing traditional Japanese dance typically feature a bold design in block colours, as their clothing must stand out from the stage. Performers performing in a group wear kimono identical to one another, with the bold designs creating visual unity between performers.
Some related garments still worn today were the contemporary clothing of previous time periods, and have survived in an official and/or ceremonial capacity, worn only on certain occasions by certain people. Accessories that can be worn with the kimono vary by occasion and use. Some are ceremonial, or worn only for special occasions, whereas others are part of dressing in the kimono and are used in a more practical sense.
Both geisha and wear variations on common accessories that are not found in everyday dress. As an extension of this, many practitioners of Japanese traditional dance wear similar kimonos and accessories to geisha and .
For certain traditional holidays and occasions some specific types of kimono accessories are worn. For instance, , also known as , are worn by girls for , alongside brightly coloured . are also worn by young women on (Coming of Age Day).
In modern Japan, at least one layer is typically worn next to the skin when wearing kimono. Traditionally, this would be the or , a tube-sleeved, wrapped-front garment considered to be underwear, though in the modern day, regular underwear is sometimes worn instead, and a traditional is not considered strictly necessary. A is typically made of something more washable than silk, such as cotton, hemp, linen or some synthetic fibres.
For all forms of kimono except the (excluding high-quality dressed up as ), a , often known and referred to as a , is worn over the top of any underwear. The resembles a kimono made of a lighter, thinner fabric, not uncommonly constructed without an panel at the front, and often with a collar cover known as a sewn over its collar. The , visible at the neckline when worn underneath a kimono, is designed to be replaced and washed when needed.
In modern-day Japan, layered kimonos are generally only seen on the stage, whether for classical dances or in kabuki. A false second layer called a may be attached instead of an entirely separate kimono to achieve this look; the resembles the lower half of a kimono's lining which, and is sewn to the kimono horizontally along the back. A may have a false collar attached to it, or a matching false collar sewn to the kimono separately, creating the illusion of layering at the neckline; separate false sleeve cuffs may also be sewn into the kimono to create this effect.
Kimonos featuring can be seen in some kabuki performances such as , where the kimono is worn with the flipped back slightly underneath the to expose the design on the . The can be seen on some bridal kimonos.
New, custom-made kimono are generally delivered to a customer with long, loose basting stitches placed around the outside edges. These stitches are called (not to be confused with , the small white prickstitching seen along the collar of ). They are sometimes replaced for storage. They help to prevent bunching, folding and wrinkling, and keep the kimono's layers in alignment.
Like many other traditional Japanese garments, there are specific ways to fold kimono. These methods help to preserve the garment and to keep it from creasing when stored. Kimonos are often stored wrapped in acid-free paper envelopes known as .
Kimono need to be aired out at least seasonally and before and after each time they are worn. Many people prefer to have their kimono dry cleaning. Although this can be extremely expensive, it is generally less expensive than the traditional method of taking a kimono apart to clean it. This may, however, be impossible for certain fabrics or dyes.
Kimonos are collected in the same way as Japanese hobbyists by some non-Japanese, and may be worn to events such as Kimono de Jack gatherings.
Edo period (1603–1867)
During the Edo period (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in the development of the Edo period was the early Genroku period (1688–1704 CE), wherein "Genroku culture" – luxurious displays of wealth and increased patronage of the arts – led to the further development of many art forms, including those of clothing. Genroku culture was led by the growing and increasingly-powerful merchant classes (), whose clothing was representative of their increasing economic power and rivalled the aristocracy and samurai classes, shown by their brightly-coloured kimono that utilised expensive production techniques, such as hand-painted dyework. , a damask fabric, also became the preferred material for kimono at this time, replacing the previously-popular plain-weave silk, which had been used to create .Ishimura Hayao et al. Robes of Elegance: Japanese Kimonos of the 16th–20th Centuries. North Carolina Museum of Art (1988), p. 1. .
Modern period
Meiji period (1868–1912)
In 1869, the social class system was abolished, and with them, class-specific sumptuary laws. Kimonos with formerly-restricted elements, such as red and purple colours, became popular, particularly with the advent of synthetic dyes such as mauvine.
Taishō period (1912–1926)
Western clothing quickly became standard issue as kokumin-fuku for men and school uniform for boys, and between 1920 and 1930, the sailor outfit replaced the kimono and undivided as school uniform for girls. However, kimono still remained popular as an item of everyday fashion; following the Great Kantō Earthquake of 1923, cheap, informal and ready-to-wear kimono, woven from raw and waste silk threads unsuitable for other uses, became highly popular, following the loss of many people's possessions. (2025). 9788857200118, Skira Editore S.p.A. ISBN 9788857200118 By 1930, ready-to-wear kimono had become highly popular for their bright, seasonally changing designs, many of which took inspiration from the Art Deco movement. kimonos were usually dyed using the ikat () technique of dyeing, where either warp or both warp and weft threads (known as ) were dyed using a stencil pattern before weaving.
Shōwa period (1926–1989)
While kimonos were no longer common wear for men, they remained everyday wear for Japanese women until World War II (1940–1945). Though the Taishō period had seen a number of invented traditions, standards of (wearing kimonos) were still not as formalised in this time, with creases, uneven and crooked still deemed acceptable.
Heisei period (1989–2019)
The economic collapse of the 1990s bankrupted much of the kimono industry and ended a number of expensive practices. The rules for how to wear kimonos lost their previous hold over the industry, and formerly-expensive traditions such as bridal kimono trousseaus generally disappeared, and when still given, were much less extensive. It was during this time that it became acceptable and even preferred for women to wear Western dress to ceremonial occasions like weddings and funerals. Many women had dozens or even hundreds of kimonos, mostly unworn, in their homes; a secondhand kimono, even if unworn, would sell for about 500 yen (less than £3.50; about US$5), a few per cent of the bought-new price. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this.
Reiwa period (2019–present)
Today, the majority of people in Japan wear Western clothing as everyday attire, and are most likely to wear kimonos either to formal occasions such as wedding ceremonies and funerals, or to summer events, where the standard kimono is the easy-to-wear, single-layer cotton .
Textiles
Both kimono and are made from a wide variety of fibre types, including hemp, linen, silk, Japanese crêpe (known as ), and figured damask weaves (). Fabrics are typically – for both and kimono – woven as (bolts of narrow width), save for certain types of (such as the ), woven to double-width. Formal kimonos are almost always made from silk, with thicker, heavier, stiff or matte fabrics generally being considered informal.
Kimono motifs
Kimono fabrics are often decorated, sometimes by hand, before construction. Customarily, kimono with woven patterns are considered more informal, though for , the reverse is true, with featuring dyed patterns being less formal than with woven patterns. Though kimono fabrics with woven patterns are typically not especially heavy and can be lightweight, fabrics with woven patterns are often very heavy, with many formal being made from thickly-woven brocade. Traditionally, woven kimonos are paired with that are decorated with dyed patterns, and vice versa. However, for all but the most formal kimono, this is more of a general suggestion than a strict rule. Formal kimonos are typically decorated with dyed patterns, commonly found along the hemline. These patterns may feature embroidery in parts, couching gold and silver thread, and/or gold and silver foil. The layout of motifs can denote a kimono's age, with patterns that mirror along the vertical back seam () being typical for kimono made before the 1930s.
Terms
The fabrics that kimonos are made from are classified in two categories within Japan. Gofuku is the term used to indicate silk kimono fabrics, composed of the characters , referring to the State of Wu in ancient China where silk weaving technology developed, and .
(2025). 9784093108041, Shogakukan. ISBN 9784093108041
Merchants' terms
Until the end of the Edo period, the tailoring of both and fabrics was separated, with silk kimonos handled at shops known as , and kimonos of other fibres sold at shops known as . Stores that handled all types of fabric were known as , though after the Meiji period, stores only retailing kimonos became less profitable in the face of cheaper everyday Western clothing, and eventually went out of business, leaving only stores to sell kimonos – leading to kimono shops becoming known only as today.
Reuse
Kimonos can readily be resized, or unpicked back into (bolt) lengths.
Construction
Kimonos are traditionally made from a single bolt of fabric known as a , which is roughly long and wide for women, and long and wide for men. The entire bolt is used to make one kimono, and some men's are woven to be long enough to create a matching jacket and as well. Kimono linings are made from bolts of the same width.
Terms
A number of terms are used to refer to the different parts of a kimono. Those that are lined are known as kimonos, whereas unlined styles are known as kimonos; partially lined kimonos – with lining only at the sleeve cuff, the back of the sleeve, the lower chest portion of the and the entirety of the – are known as kimonos. Some fully lined kimonos do not have a separate lower and upper lining, and are instead lined with solid panels on the , the and the .
Evolution of kimono construction
Though the basic shape of the kimono has not changed in centuries, proportions have, historically, varied in different eras of Japanese history. Beginning in the later Heian period, the – an unlined robe worn as underwear – became the predominant outerwear garment for both men and women, known as the . Court-appropriate dress continued to resemble the previous eras.
Sleeve length
The sleeve length (dropping down from the arm towards the floor when held outstretched) varies in kimono.
+ Sleeve lengths
Cost
Both men's and women's brand-new kimono can range in expense (in 2023) from around ¥1000 (~US$7) to ¥150,000 (~US$1050)
are also regarded as notorious for high pressure sales practices seen as unscrupulous such as kakoikomi (囲い込み “enclosure”):
Types of kimono
Several different types of kimono exist. These varieties are primarily based on formality and gender, with more women's varieties of kimono existing than men's.
Formality
Kimonos range in variation from extremely formal to very casual. For women, the formality is determined mostly by pattern placement, decoration style, fabric choice and colour. For men, whose kimonos are generally monochromatic, formality is determined typically by fabric choice and colour. For both men and women, the accessories and worn with the kimono also determine formality.
Colours and patterns
Under feudal sumptuary laws, colours were restricted by class; for instance, indigo-dyed clothing was allowed for all classes, and was commonly seen in hand-dyed cotton, linen or hemp fabrics, but other dyes, such as reds and purples, were forbidden to those below a certain class. Sometimes, for some classes, designs were restricted to below the belt, to the bottoms of the sleeves (for ) or to along the hem (); sometimes they were banned altogether, and were transferred to the collar of the underkimono, or the inside of the hem, where only the faintest glimpse would be intermittently visible. This type of subtle ostentation became an aesthetic known as , and outlasted the sumptuary laws. Modern-day rules of formality, however, still echo clothing distinctions typically employed by the uppermost samurai classes.
Fabric type
Kimono vary widely in fabric type, and are not all made of silk. Certain types of fabric, such as wool, cotton, linen and hemp, are always considered informal, and so are not seen on more formal varieties of kimono. Certain varieties of silk, such as , are considered informal, having once been woven only by silk farmers out of unusable cocoons for their own use; other, more modern varieties, such as , were designed to be used as casual, cheap daywear, and are machine-spun and -woven using brightly-patterned yarns. Some varieties of crêpe are on the lowest end of formal, with their rougher texture considered unsuitable for formal use; other varieties, such as smooth crêpe, are used for all varieties of formal kimono. The most formal kimonos are only ever made of smooth, fine silks, such as glossy silk fabrics like habutai.
Lined and unlined kimono
In the summer months (from June (Translated from the original Japanese: ) until October in the most stringent kimono guides, such as those for tea ceremony), kimonos are unlined (); for the rest of the year, they are lined (). This applies to all types of kimono, with a few caveats: the very informal is always unlined, and thus only worn in summer; the most formal kimono, in contrast, are unlikely to be worn unlined in summer, as many people simply do not have more than one formal kimono to wear, and do not wear formal kimono often enough to warrant the purchase of a new, unlined kimono, just for summer wear. also change fabric type in the summer months.
Crests
Formality is also determined by the number and type of or (crests). Five crests () are the most formal, three crests () are mid-formality, and one crest () is the least formal, used for occasions such as tea ceremony. Kimono (and other garments, like ) with are called ("-carrying"). The type of crest adds formality as well. A "full sun" () crest, where the design is outlined and filled in with white, is the most formal type. A "mid-shadow" () crest is mid-formality, with only the outline of the crest visible in white. A "shadow" () crest is the least formal, with the outline of the crest relatively faint. Shadow crests may be embroidered onto the kimono, and full-embroidery crests, called , are also seen.
Choice of accessories
Formality can also be determined by the type and colour of accessories. For women, this may be the weave of and the style of . For men, adding a (a traditional jacket) makes an outfit more formal, and adding both and (traditional trousers) is more formal still. The material, colour, and pattern of these overgarments also varies in formality. Longer are also more formal.
Sleeve length and construction
Both men's and women's kimonos feature sleeves considered relatively short, with men's sleeves shorter than women's. Though lengths can vary by a few centimetres, these lengths are informally standardised.
Regional variations and modern adaptations of kimono
The traditional kimono style is often associated with a singular image, but subtle variations exist across Japan’s regions, reflecting local culture and climate. For example, Kyoto is known for its intricate Yūzen dyeing technique, which produces vibrant, detailed designs often featuring nature motifs. In contrast, Okinawa is famous for Bingata, a traditional method of dyeing with bright colours and stencils, often using tropical motifs reflective of the island’s unique environment.
General types
(襦袢)
The , also called the (長襦袢), is an under-kimono worn by both men and women. resemble a kimono in construction, with a few key differences: the sleeves are typically open along the entire cuff side, with only a few stitches sewing both sides together placed where a normal kimono sleeve cuff would end; the sleeve has no curve sewn into the outer edge, instead being square; the is typically a little shorter than the length of a kimono when worn, and features no extra length to be bloused into an for women's kimono; the front either does not have any overlapping panels () or features only thin ones, with the collar set at a lower angle than that of a regular kimono. are considered an essential piece of kimono underwear, and are worn with all types of kimono except for .
are typically made of lightweight materials, often silk. Women's and can either be patterned or entirely plain, and modern women's are frequently white in colour.
(肌襦袢)
are a type of kimono undergarment traditionally worn underneath the . are even further removed from resembling a kimono in construction than the ; the comes in two pieces (a wrap-front top and a skirt), features no collar, and either has tube sleeves or is sleeveless.
(浴衣)
Yukata are casual cotton summer kimonos worn by both men and women. were originally very simple indigo and white cotton kimono, little more than a bathrobe worn either within the house, or for a short walk locally; were worn by guests at inns, with the design of the displaying the inn a person was staying at. From roughly the mid-1980s onwards, they began to be produced in a wider variety of colours and designs, responding to demand for a more casual kimono that could be worn to a summer festival, and have since become more formal than their previous status as bathrobes, with high-end, less colourful sometimes standing in place of .
are always unlined, and it is possible for women to wear a casual with a high-end, more subdued , often with a underneath. A high-end men's could be dressed up in the same way.
(紬)
Tsumugi are casual silk kimono worn by both men and women. kimono traditionally referred to kimono woven in plain weave with silk noil, short-staple silk fibre, though now include various types of casual silk kimono whereby the pattern is produced by weave as opposed to surface dying. Tsumugi kimonos are often dyed with Kasuri patterns.
(小紋)
are informal women's kimono. They were the type most often worn as everyday womenswear in pre-war Japan. Though informal, with smaller, denser patterns are considered a shade more formal than with larger, bolder patterns.
mostly have no (crests), and the sleeves are fairly short. They are made with a repeating designs, though the repeat length may be quite long. Designs can be made with any method; woven patterns, prints, stencilled patterns in alternating orientations, freehand painting () or tie-dye patterns (). Traditionally the direction of the fabric was alternated in adjacent panels (necessary due to the lack of shoulder seam), so patterns were generally reversible. If the pattern is the same way up on each panel, the is more formal, approaching -level formality.
are made with informal materials such as (slubbed silk), cotton, linen, ramie, and hemp. In the modern day, synthetic blends and synthetics are often used; rayon () and polyester are common.
(江戸小紋)
Edo komon are a type of worn by women characterised by an extremely small repeating pattern, usually done in white on a coloured background. The dyeing technique is sometimes said to originate in the late Heian period (circa mid-12th century), with a motif called , which shows tiny stylised cherry blossoms on a background of white dots. In the Edo period (1603–1867), the samurai classes used them for formal wear, with specific patterns becoming associated with specific families. Towards the end of the Edo period, in the early 1800s, commoners began to wear them. are of a similar formality to , and with one can be worn as low-formality visiting wear; because of this, they are always made of silk, unlike regular .
(色無地)
are monochromatic, undecorated women's kimonos mainly worn to tea ceremonies, as the monochrome appearance is considered to be unobtrusive to the ceremony itself. Despite being monochromatic, may feature a woven design; suitable for autumn are often made of damask silk. Some with incredibly fine patterns are considered suitable for tea ceremony, as from a distance they are visually similar to . may occasionally have one , though likely no more than this, and are always made of silk. accessories such as are never worn with if the purpose of wear is a tea ceremony; instead, flat and untextured silks are chosen for accessories.
(付け下げ)
Tsukesage are low-ranking women's formalwear, and are a step below , though the two sometimes appear similar or indistinguishable. The motifs on a are placed similarly to those of a – across the back-right shoulder and back-right sleeve, the front-left shoulder and the front-left sleeve, and across the hem, higher at the left than the right – but, unlike , do not typically cross over the seams of each kimono panel, though some confusingly do. In older examples, the motifs may instead be placed symmetrically along the hem, with the skirt patterns mirrored down the centre-back seam.
can have between one and three , and can be worn to parties, but not ceremonies or highly formal events.
(訪問着)
are women's formal kimonos with the same pattern placement as a , but with patterns generally matching across the seams. They are always made of silk, and are considered more formal than the .
are first roughly sewn up, and the design is sketched onto the fabric, before the garment is taken apart to be dyed again. The 's close relative, the , has its patterns dyed on the bolt before sewing up. This method of production can usually distinguish the two, as the motifs on a are likely to cross fluidly over seams in a way a generally will not. However, the two can prove near-indistinguishable at times.
may be worn by both married and unmarried women; often friends of the bride will wear to weddings (except relatives) and receptions. They may be worn to formal parties.
(色留袖)
are formal women's kimono that feature a design along the hem on a coloured background. They are slightly less formal than , which have roughly the same pattern placement on a black background. , though worn to formal events, may be chosen when a would make the wearer appear to be overdressed for the situation. The pattern placement for is roughly identical to , though patterns seen along the and may drift slightly into the back hem itself. with five are of the same formality as any . may be made of figured silk such as .
(色紋付)
are formal men's kimonos. feature formal crests along the shoulders on a colour background, which, apart from the cut of the sleeve, appears the same as an from the waist up, and thus cannot be distinguished in pattern when worn under the . Because formalwear for men requires , men do not wear formal kimono that have elaborate patterns on the hem, as these would be hidden.
(黒留袖)
are formal women's kimonos, featuring a black background and a design along the hem. They are the most formal women's kimono, and are worn to formal events such as weddings and wedding parties. The design is only present along the hem; the further up the body this design reaches, the younger the wearer is considered to be, though for a very young woman an may be chosen instead, being considered somewhat more mature. The design is either symmetrically placed on the and portions of the kimono, or asymmetrically placed along the entirety of the hem, with the design being larger and higher-placed at the left side than the right. Vintage kimono are more likely to have the former pattern placement than the latter, though this is not a hard rule.
are always made of silk, and may have a – a false lining layer – attached, occasionally with a slightly padded hem. A usually has between 3 and 5 crests; a of any number of crests outranks an with less than five. , though formalwear, are not allowed at the royal court, as black is the colour of mourning, despite the colour designs decorating the kimono itself; outside of the royal court, this distinction for does not exist. are never made of flashy silks such as , but are instead likely to be a matte fabric with little texture.
typically feature kazari jitsuke, small white decorative prickstitches along the collar.
(黒紋付)
("black -decorated") are the most formal men's kimono, which, apart from the cut of the sleeve, look exactly the same from the waist up as a , and thus cannot be distinguished in pattern when worn under the required for men's formal dress.
Occasion-specific types
(喪服)
Mofuku are a category of kimono and accessories suitable for mourning, worn by both men and women. kimono, and accessories are characterised by their plain, solid black appearance. kimonos are plain black silk with five , worn with white undergarments and white . Men wear a kimono of the same kind, with a subdued and a black-and-white or black-and-grey striped , worn with black or white zōri.
(打ち掛け)
Uchikake are highly formal women's over-kimonos, worn only by brides or onstage. The name comes from the Japanese verb , "to drape upon", originating in roughly the 16th century from a fashion amongst the ruling classes of the time to wear kimono (then called , ) unbelted over the shoulders of one's other garments; the progressed into being an over-kimono worn by samurai women before being adopted some time in the 20th century as bridal wear.
are designed to be worn over the top of a complete kimono outfit with , and thus are not designed to be worn belted. Unlike their 16th century counterparts, modern generally could not double as a regular kimono, as they often feature heavy, highly-formal decoration and may be padded throughout, if not solely on the hem. They are designed to trail along the floor, and the heavily-padded hem helps to achieve this.
(白無垢)
are pure-white wedding kimonos worn by brides for a traditional Japanese [[Shinto]] wedding ceremony. Comparable to an and sometimes described as a white , the is worn for the part of the wedding ceremony, symbolising the purity of the bride coming into the marriage. The bride may later change into a red after the ceremony to symbolise good luck.
(裾引き/引きずり)
() (also known as ) are women's kimonos with a specialised construction that allows them to be worn trailing, with a deep-set and widely-spaced collar. are extremely long kimono worn by geisha, , actors in [[kabuki]] and people performing traditional Japanese dance. A can be up to long, and are generally no shorter than from shoulder to hem; this is to allow the kimono to trail along the floor.
are sewn differently to normal kimonos due to the way they are worn. The collar on a is sewn further and deeper back into the nape of the neck, so that it can be pulled down much lower without causing the front of the kimono to ride up. The sleeves are set unevenly onto the body, shorter at the back than at the front, so that the underarm does not show when the collar is pulled down.
are tied differently when they are put on – whereas regular kimonos are tied with a visible , and the side seams are kept straight, are pulled up somewhat diagonally, to emphasise the hips and ensure the kimono trails nicely on the floor. A small is tied, larger at the back than the front, but it wrapped against the body with a () wrap, which is then covered by the , rendering the invisible.
Related garments and accessories
Though the kimono is the national dress of Japan, it has never been the sole item of clothing worn throughout Japan; even before the introduction of Western dress, many different styles of dress were worn, such as the of the Ainu people and the of the Ryukyuan people. Though similar to the kimono, these garments are distinguishable by their separate cultural heritage, and are not considered to be simply 'variations' of the kimono as the clothing worn by the working class is considered to be.
Layering
Pre-WW2, kimonos were commonly worn layered, with three being the standard number of layers worn over the top of undergarments. The layered kimono underneath were known as , and were often a patchwork of older or unwearable kimono taken apart for their fabric. Specifically-designed matching sets of formal layered kimonos were known as , and generally featured the same design presented on different background colours, such as white (innermost), red (middle layer) and black (outermost). The innermost layers, known as , typically featured the plainest decorative techniques, such as dyework only, and the successive outer layers would feature techniques such as embroidery and couched gold thread, with the outermost layer – known as the – displaying the most extensive decoration. These matching sets would be designed and created together, commonly as part of a bride's outfit for a wedding. Extant intact sets of kimonos are difficult to find, particularly in good condition, with the innermost kimono typically damaged and in poor condition.
Care
In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing. This traditional washing method involves two steps: taking the kimono apart and washing each piece () and then stretching each piece of a kimono onto a board to dry after they have been washed and starched (). Because the stitches must be taken out for washing, traditional kimono need to be hand sewn. The process of traditionally washing kimono is very expensive and difficult and is one of the causes of the declining popularity of kimono. Modern fabrics and cleaning methods have been developed that eliminate this need, although the traditional washing of kimono is still practised, especially for high-end garments.
, kimono production regions
Kimonos are produced in different regions all over Japan. Locations known for making kimonos are often called . Many of these regional variations still exist today and are recognised as , famous products of their place of origin.
久米島紬 Kumejima, Okinawa 八重山上布 Yaeyama, Okinawa Made of both hand and machine spun ramie thread and hand woven. 宮古上布 Miyako, Okinawa Made of hand spun ramie thread, indigo dyed and hand woven. 置賜 Yamagata Including: 塩沢島紬 Shiozawa, Niigata 久留米絣 Kurume, Fukuoka Cotton Kimono known for often hand woven kasuri 牛首紬 Hakusan, Ishikawa 結城紬 Yūki, Ibaraki kimonos are often made with thread spun by hand. It can take up to three months to make enough thread for one kimono by an experienced weaver.
大島紬 Amami Ōshima kimonos are dyed with mud and dyed from the bark of Tree creating a deep black color. Mud dyed [[kasuri]] threads are hand woven together to create patterns.
Outside Japan
Kimonos are worn by Japanese Americans, and by other members of the Japanese diaspora overseas, such as Japanese in the Philippines. Kimonos are worn to Shinto ceremonies by Japanese Brazilians in Curitiba, Paraná.
See also
Notes
External links
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