Kimono

Japanese women's dress under Goguryeo influence with a distinctive overlapping collar and mo skirt.[5] (Takamatsu Tomb, 7th century)

Stylized kosode in the late Heian period, a few centuries after Japan demolished connections with China.[6] (The Tale of Genji, 12th century)

Kosode, the undergarment transformed into outerwear after the Muromachi period. (Matsuura byōbu, 17th century)

The overall silhouette transformed due to the evolution of obi, sleeves, and the layering of heavy fabrics. (Utagawa Kuniyoshi, Plum Blossoms at Night, woodblock print, 19th century)

The first instances of kimono-like garments in Japan were traditional Chinese clothing introduced to Japan via Chinese envoys in the Kofun period, with immigration between the two countries and envoys to the Tang dynasty court leading to Chinese styles of dress, appearance and culture becoming extremely popular in Japanese court society.[1] The Imperial Japanese court quickly adopted Chinese styles of dress and clothing,[7] with evidence of the oldest samples of shibori tie-dyed fabric stored at the Shosoin Temple being Chinese in origin, due to the technical capacities of Japan's ability to produce the fabrics stored there at the time.[8]

During Japan's Heian period (794-1193 CE), these Chinese styles of dress became increasingly stylised, with some elements - such as the round-necked and tube-sleeved chun ju jacket, worn by both genders in the early seventh century - being abandoned by both male and female courtiers. Others, such as the wrap-front robes also worn by men and women, were kept, and some elements, such as the mo skirt worn by women, continued on in a reduced capacity, worn only to formal occasions.[1]

During the later Heian period, various clothing edicts reduced the number of layers a woman could wear, leading to the kosode - lit., "small sleeve" - garment, previously considered underwear, becoming outerwear by the time of the Muromachi period (1336-1573 CE). Originally worn with hakama trousers - another piece of underwear in the Heian period - the kosode began to be held closed with a small belt known as an obi.[1] The kosode resembled a modern kimono, though at this time, the sleeves were sewn shut at the back, and were smaller in width than the much wider body of the garment.

During the Edo period (1603-1867 CE), the sleeves of the kosode began to grow in length, especially amongst unmarried women, and the obi became much longer and wider, with various styles of knots coming into fashion, alongside stiffer weaves of material supporting them.[1] During the later Edo period, dress edicts intended to clamp down on the wealthy merchant classes drove the previously elaborate fashions of the era underground, where aesthetic ideals such as iki flourished, continuing to affect kimono aesthetics even in the present day. From this point onwards, the basic shape of both men's and women's kimono remained largely unchanged.[1]

During the Meiji era, 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". After an edict by Emperor Meiji, for instance, policemen, railroad workers and teachers 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. Initiatives such as the Tokyo Women's & Children's Wear Manufacturers' Association (東京婦人子供服組合) promoted Western clothing as everyday dress.

Western clothing quickly became standard issue as army uniform for men[9] and school uniform for boys, and between 1920 and 1930, the sailor outfit replaced the kimono and undivided hakama as school uniform for girls.[1]^:140 However, kimono still remained popular as an item of everyday fashion; following the Great Kantō Earthquake of 1923, cheap and informal meisen kimono (woven from raw and waste silk threads that were not suitable for formal kimono) became highly popular following the loss of many people's possessions,[10] and by 1930 ready-to-wear meisen kimono had become highly popular for their bright, seasonally-changing designs, many of which took inspiration from the Art Deco movement. Meisen kimono were usually dyed using the ikat (kasuri) technique of dyeing, where either warp or both warp and weft threads (known as heiyō-gasuri)[10]^:85 were dyed using a stencil pattern before weaving.

Today, the vast majority of people in Japan wear Western clothing in the everyday, and are most likely to wear kimono 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 yukata. In the Western world, kimono-style women's jackets, similar to a casual cardigan,[11] gained public attention as a popular fashion item in 2014.[12]

In 2019, the mayor of Kyoto announced that his staff were working to register “Kimono Culture” on UNESCO's intangible cultural heritage list.[13]

A child wearing a furisode kimono in full formal dress

Comparison between a kosode (left) and a modern-day kimono (right).

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 hitoe - an unlined robe worn as underwear - became the predominant outerwear garment for both men and women, known as the kosode (lit. "small sleeve"). Court-appropriate dress continued to resemble the previous eras.

By the beginning of the Kamakura period, the kosode 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 obi was a relatively thin belt tied somewhat low on the waist, usually in a plain bow, and was known as a hoso-obi.[14] During this time period, the fashion of wearing a kosode draped around the shoulders, over the head, or as the outermost garment stripped off the shoulders and held in place by the obi, led to the rise of the uchikake - a heavily-decorated over-kimono, stemming from the verb "uchikake-ru" (lit., "to drape upon"), worn unbelted over the top of the kosode - becoming popular as formal dress for the upper classes.[1]^:39

In the following centuries, the kosode 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 kosode retained its relatively long and wide proportions, and the okumi front panel kept its long, shallow angle towards the hem. During the Edo period, the kosode had developed roughly modern kimono proportions, though variety existed until roughly the mid- to later years of the era.[15] Men's sleeves continued to be sewn shut to the body down most of their length. 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, which trailed along the floor throughout certain eras, ideally should be as tall as the person wearing them, with the excess length folded and tied underneath the obi in a hip fold known as the ohashori. Formal women's kimono also retain the wider collar of previous eras, though it is always folded in half lengthwise before wearing - a style known as hiro-eri (lit. "wide collar", as opposed to bachi-eri, a normal width collar).[16]

Historically, kimono were taken apart to be washed, as the pattern pieces for kimono were mostly rectangular - a process known as arai-hari. Once cleaned, it would be resewn by hand to a roughly standardised method of construction, with any excess fabric being kept in the seam allowances, allowing it to be easily retailored for different people and measurements.[1] Though some modern kimono are machine-sewn, formal kimono, and in particular silk kimono, are still hand-sewn, with even a machine-sewn kimono requiring some degree of hand-sewing to be finished.

Fabrics

Both kimono and obi are made from a wide variety of fibre types, including hemp, linen, silk, crepe (known as chirimen), and figured satin weaves such as rinzu. Fibres such as rayon became widespread during WW2, and modern kimono are widely available in fabrics considered easier to care for, such as polyester. However, almost all formal kimono are made entirely from silk, as well as usually being hand-sewn.

Kimono textiles can to be classified into two categories: gofuku ((呉服)), which indicates silk textiles in general, and cotton/hemp futomono ((太物)) for everyday wear. Gofuku was named after 呉 (Wú) in ancient China, where the technology of silk fabrics originated from. Cotton clothing is called momenfuku ((木綿服)) whereas hemp clothing is called asafuku ((麻服)) in Japanese. Cotton/hemp fabrics are generally called as futomono ((太物), "Thick materials") as the fiber of these materials are thicker compared to that of silk. Till the end of the Edo period, tailoring of these fabrics were handled respectively at gofuku stores (known as Gofuku Dana) and futomono stores (known as Futomono Dana), however, after the Meiji period, kimono was not worn as daily wear very often and futomono stores eventually went out of business.

Girls in kimono

Kimono are traditionally made from a single bolt of fabric known as a tanmono, which is roughly 11.5m long and 36 cm wide for women,[1] and 12.5m long and 42 cm wide for men. The entire bolt is used to make one kimono, and some men's tanmono are woven to be long enough to create a matching haori jacket and juban as well. 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.[17]

Kimono fabrics are frequently hand-made and -decorated. Techniques such as yūzen dye resist are used for applying decoration and patterns to the base cloth. Repeating patterns that cover a large area of a kimono are traditionally done with the yūzen resist technique and a stencil. Over time there have been many variations in color, fabric, and style, as well as accessories such as the obi. Customarily, woven patterns and dyed repeat patterns are considered informal. Formal kimono have free-style designs dyed over the whole surface or along the hem.[18]

The pattern of the kimono can determine in which season it should be worn. For example, a pattern with butterflies or cherry blossoms would be worn in spring. Watery designs are common during the summer. A popular autumn motif is the russet leaf of the Japanese maple; for winter, designs may include bamboo, pine trees and plum blossoms (the Three Friends of Winter).

A popular form of textile art in Japan is shibori (intricate tie dye), found on some of the more expensive kimono and haori kimono jackets. Patterns are created by minutely binding the fabric and masking off areas, then dying it, usually by hand. When the bindings are removed, an undyed pattern is revealed. Shibori work can be further enhanced with yuzen (hand applied) drawing or painting with textile dyes or with embroidery; it is then known as tsujigahana. Shibori textiles are very time-consuming to produce and require great skill, so the textiles and garments created from them are very expensive and highly prized.

Old kimono have historically been recycled in various ways, depending on the type of kimono and its original use. Kimono were shortened, with the okumi taken off and the collar re-sewn, to make haori, or would simply be cut at the waist to create a side-tying jacket. After marriage or a certain age, young women would shorten the sleeves of their kimono, and extra material taken from kimono could be used to lengthen it at the waist, create an obi, or was used to patch similar kimono.

Kimono were also used to create dounuki, underkimono worn on top of the juban, and the material would show at the sleeve, hem and collar. Kimono were also used to create juban themselves, and after wearing layered kimono fell out of fashion, create a false underlayer – a hiyoku – was another use for old kimono. They could also be resewn into kimono for children.

Historically, skilled craftsmen would laboriously cut old silk kimono into strips roughly 1 cm wide to weave into obi, called saki-ori obi. The technique was a kind of rag-weaving, creating a mostly one-sided obi that was relatively narrow and informal. Saki-ori obi are prized for their craftsmanship and rustic quality today, as they would have taken many hours to create, and saki-ori obi often feature patterns of stripes, checks and arrows. The technique is kept alive to this day by craftspeople interested in rustic arts.

Parts

Diagram of the kimono parts

These terms refer to parts of a kimono:

• Dōura (胴裏): upper lining on a woman's kimono.
• Eri (衿): collar.
• Fuki (袘): hem guard.
• Furi (振り): sleeve below the armhole.
• Obi (帯): a belt used to tuck excess cloth away from the seeing public.
• Maemigoro (前身頃): front main panel, excluding sleeves. The covering portion of the other side of the back, maemigoro is divided into "right maemigoro" and "left maemigoro".
• Miyatsukuchi (身八つ口): opening under the sleeve.
• Okumi (衽): front inside panel on the front edge of the left and right, excluding the sleeve of a kimono. Until the collar, down to the bottom of the dress goes, up and down part of the strip of cloth. Have sewn the front body. It is also called "袵".
• Sode (袖): sleeve.
• Sodeguchi (袖口): sleeve opening.
• Sodetsuke (袖付): kimono armhole.
• Susomawashi (裾回し): lower lining.
• Tamoto (袂): sleeve pouch.
• Tomoeri (共衿): over-collar (collar protector).
• Uraeri (裏襟): inner collar.
• Ushiromigoro (後身頃): back main panel, excluding sleeves, covering the back portion. They are basically sewn back-centered and consist of "right ushiromigoro" and "left ushiromigoro", but for wool fabric, the ushiromigoro consists of one piece.

A modern second-hand kimono shop

Both men's and women's brand-new kimono can range in expense, from the relatively cheap nature of second-hand garments, to high-end artisan pieces costing as much as US$50,000[19] (not allowing for the cost of accessories).

The high expense of some hand-crafted brand-new kimono reflects the traditional kimono making 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 bashofu fabrics and hand-tied kanoko shibori 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 kimono 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 gofukuya (kimono shop, see below).

Though artisan-made kimono 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:

[Third-generation yūzen dyer Jotaro Saito] believes we are in a strange age where people who know nothing about kimono are the ones who spend a lot of money on a genuine handcrafted kimono for a wedding that is worn once by someone who suffers wearing it, and then is never used again.[20]

The high cost of most brand-new kimono reflects in part the pricing techniques within the industry. Most brand-new kimono are purchased through gofukuya, where kimono 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.[21]

Gofukuya are also regarded as notorious for sales practices seen as unscrupulous and pressuring:

Many [Japanese kimono consumers] feared a tactic known as kakoikomi: being surrounded by staff and essentially pressured into purchasing an expensive kimono...Shops are also renowned for lying about the origins of their products and who made them...[My kimono dressing (kitsuke) teacher] gave me careful instructions before we entered the [gofukuya]: 'do not touch anything. And even if you don’t buy a kimono today, you have to buy something, no matter how small it is.’[21]

In contrast, kimono 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.[22]

However, even second-hand women's obi are likely to remain somewhat pricey; a used, well-kept and high-quality second-hand obi can cost upwards of US$300, as they are often intricately woven, or decorated with embroidery, goldwork and may be hand-painted. Men's obi, in contrast, retail much cheaper, as they are narrower, shorter, and have either very little or no decoration, though high-end men's obi can still retail at a high cost equal to that of a high-end women's obi.

Kimono range in variation from extremely formal to very casual. The formality of a woman's kimono is determined mostly by pattern placement, decoration style, fabric choice and colour. The formality of men's kimono is determined more by fabric choice and coordination elements (hakama, haori, etc.) than decoration, as men's kimono tend to be one colour with motifs only visible when looked at closely.

In both cases, formality is also determined by the number and type of kamon (crests). Five crests (itsutsu mon) are the most formal, three crests (mitsu mon) are mid-formality, and one crest (hitotsu mon) is the least formal, used for occasions such as tea ceremony.

The type of crest adds formality as well. A "full sun" (hinata) crest, where the design is outlined and filled in with white, is the most formal type. A "mid-shadow" (nakakage) crest is mid-formality, with only the outline of the crest visible in white. A "shadow" (kage) 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 nui mon, are also seen.[23]

Formality can also be determined by the type and colour of accessories, such as weave of obijime and the style of obiage.

Furisode

A young woman wearing a furisode

Furisode (振袖) (lit., "swinging sleeve") kimono are the most formal kimono for a young, often unmarried, woman. They are decorated with colourful patterns across the entirety of the garment, and usually worn to seijin shiki (Coming of Age Day) or weddings, either by the bride herself or an unmarried younger female relative.

The sleeves of the furisode average at between 100–110 cm in length. Chu-furisode (mid-size furisode) have shorter sleeves at roughly 80 cm in length; most chu-furisode are vintage kimono, as in the modern day furisode are not worn often enough to warrant buying a more casual form of the dress.

Uchikake

An Uchikake (wedding) kimono depicting cranes, from the Khalili Collection of Kimono

Uchikake (打ち掛け) are highly formal kimono worn only in bridalwear or on stage. The name uchikake comes from the verb uchikake-ru, "to drape upon", originating in roughly the 16th century from a fashion of the ruling classes of the time to wear kimono (then called kosode, "small sleeve") unbelted over the shoulders of one's other garments.[1]^:34

Uchikake are worn in the same manner in the present day, though unlike their 16th-century counterparts, could never be worn as an everyday kimono as well; they are heavily-decorated, highly-formal garments with thickly-padded hems, designed to trail along the floor as a sort of coat. Bridal uchikake are either red or white, and often decorated heavily with auspicious motifs. Because they are not designed to be worn with an obi, the designs cover the entirety of the back.

Shiromuku

A traditional wedding kimono with tsunokakushi (wedding headpiece)

Shiromuku (白無垢, lit. "white pure-innocence") are the pure-white wedding kimono worn by the bride for a traditional Japanese Shinto wedding ceremony. Comparable to an uchikake and sometimes described as just a white uchikake, a shiromuku 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 uchikake after the ceremony to symbolise good luck.

A shiromuku will form part of a bridal ensemble with matching or coordinating accessories, such as a bridal katsura, a set of matching kanzashi (usually mock-tortoiseshell), and a sensu fan tucked into the kimono. Due to the expensive nature of traditional bridal clothing, few are likely to buy brand-new shiromuku; it is not unusual to rent kimono for special occasions, and Shinto shrines are known to keep and rent out shiromuku for traditional weddings. Those who do possess shiromuku already are likely to have inherited them from close family members.

Jūnihitoe

A woman modelling a jūnihitoe

Main article: Jūnihitoe

Jūnihitoe (十二単) (lit. "twelve layers") describes the layered garments worn by court ladies during the Heian period. The jūnihitoe consisted of up to twelve layered garments, with the innermost garment being the kosode - the small-sleeved kimono prototype which would eventually go on to become the outermost garment worn.

The total weight of the jūnihitoe could be up to 20 kg. The garments were decorated in relatively large motifs, with a more important aspect being the numerous recorded colour combinations an outfit could have.

An important accessory of this outfit was an elaborate hand fan, which could be tied together by tassels tied onto the end fan bones. These fans were made of cypress wood entirely, with the design painted onto the wide, flat bones themselves, and were known as hiōugi.

No garments from the Heian period survive, and today the jūnihitoe can only be seen as a reproduction in museums, movies, festivals and demonstrations. The Imperial Household still officially uses them at some important functions, such as the coronation of the new Empress.

Men's kimono

Couple being married in traditional dress

In contrast to women's kimono, men's kimono outfits are far simpler, typically consisting of five pieces, not including footwear.

Men's kimono sleeves are attached to the body of the kimono with no more than a few inches unattached at the bottom, unlike the women's style of very deep sleeves mostly unattached from the body of the kimono. Men's sleeves are less deep than women's kimono sleeves to accommodate the obi around the waist beneath them, whereas on a woman's kimono, the long, unattached bottom of the sleeve can hang over the obi without getting in the way.

Jinbaori – Kimono tabards for armoured Samurai

In the modern era, the principal distinctions between men's kimono are in the fabric. The typical men's kimono is a subdued, dark color; black, dark blues, greens, and browns are common. Fabrics are usually matte. Some have a subtle pattern, and textured fabrics are common in more casual kimono. More casual kimono may be made in slightly brighter colors, such as lighter purples, greens and blues. Sumo wrestlers have occasionally been known to wear quite bright colors such as fuchsia.

The most formal style of kimono is plain black silk with five kamon on the chest, shoulders and back. Slightly less formal is the three-kamon kimono, and least formal the one-kamon and uncrested kimono.

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 to Japan, many variations of or cousins to the kimono existed, often as rural or (in the case of the Ainu people) cultural dress.

Some related garments still worn today were the contemporary clothing of previous time periods, and have survived on in an official and/or ceremonial capacity, worn only on certain occasions by certain people.

Bridalwear

Brides in Japan who opt for a traditional ceremony will wear specific accessories and types of kimono, which may be changed and switched out for certain parts of the ceremony; for instance, the wata bōshi hood is removed during the ceremony, and uchikake are worn over the top of shiromuku bridal kimono once the ceremony has been completed, usually at the reception. Many bridalwear traditions, such as the addition of a small (fake) dagger, are amalgams and facsimiles of samurai dress from previous eras.

Japanese bride in her tsunokakushi

Tsunokakushi (角隠し, lit. "horn-hiding")

Tsunokakashi is a style of headwear worn by brides in traditional Shinto wedding ceremonies. Tsunokashi may be made of white silk and worn with the bride's white shiromuku wedding kimono, or they may be made of colored materials to match or coordinate when the bride opts for a non-shiromuku style. Tsunokakashi, unlike wata bōshi, do not cover the high topknot formed by the bride's takashimada-style wig.

According to folk etymology, the headwear is worn to hide the bride's horns of jealousy and selfishness; however, this headdress was originally a simpler cap worn to keep the dirt and dust off a woman's hairstyle when travelling.[27] The custom spread from married women in samurai families in the Muromachi and Momoyama periods to younger women of lower classes during the Edo period.

Wata bōshi (綿帽子, lit "cotton hat")

Wata bōshi is a style of full-coverage hood also worn by the bride in traditional Shinto weddings. The wata bōshi is always white and worn with shiromuku. Wata bōshi entirely cover the bride's hairstyle.[28]

Takashimada (高島田)

takashimada katsura are the style of shimada wig worn by brides. This wig resembles the style worn by geisha, with a few key differences; namely that the wig appears to be shorter and fuller, with the mage (bun) at the back placed much higher on the head. The takashimada is worn with a matching set of tortoiseshell or faux-tortoiseshell kanzashi hair accessories

Kanzashi (簪)

Kanzashi hair ornaments, made of tortoiseshell or faux-tortoiseshell, are worn with the takashimada wig. These hair accessories will come in a matching set, including a highly-decorated kushi comb and kogai hair stick, and a number of bira-bira-style kanzashi, often decorated with flowers in either tortoiseshell or metal and coral or coral-substitute.

Sensu (扇子)

Sensu folding hand fans, in either entirely gold or silver leaf, are worn tucked into the obi.

Futokorogatana (懐刀)

Futokorogatana, lit. "chest sword", are small daggers tucked into the collar, often held inside a small, decorative purse made of brocade fabric.

Hakoseko (箱迫)

Hakoseko are small, highly-decorative purses worn with wedding kimono. These are also made out of decorative brocade fabric, often with tassels on the ends of the purse, and usually contain some combination of a small mirror and a comb.

There are a number of accessories that can be worn with the kimono, and these vary by occasion and use. Some are ceremonial, or worn only for special occasions, whereas others are part of dressing in kimono and are used in a more practical sense.

Both geisha and maiko 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 kimono and accessories to geisha and maiko.

For certain traditional holidays and occasions some specific types of kimono accessories are worn. For instance, okobo, also known as pokkuri, are worn by girls for shichi-go-san, alongside brightly-coloured furisode. Okobo are also worn by young women on seijin no hi (Coming of Age Day).

A traditional silk datejime with stiffer middle and softer ends

Datejime (伊達締め) or datemaki (伊達巻き)

A wide undersash used to flatten and keep in place the kimono and/or the nagajuban when tied. Datejime can be made of a variety of fabrics, including silk, linen and elastic.[29]

Fā (ファー)

A fur collar, boa or stole worn by women over a kimono; white fur stoles are usually worn by young women on their Coming of Age Day, whereas other colours are likely to be worn by older women to keep warm.

Geta (下駄)

Wooden sandals worn by men and women with yukata and other casual kimono. They are usually made of a lightweight wood such as paulownia, and come in a variety of styles, such as ama geta ("rain geta", covered over the feet) and tengu geta (with just one prong on the sole instead of two).

Hachimaki (鉢巻)

Traditional Japanese stylized headband, worn to keep sweat off of one's face. In Japanese media, it is used as a trope to show the courage of the wearer, symbolising the effort put into their strife, and in kabuki, it can symbolise a character sick with love.

Women at a graduation ceremony, featuring hakama with embroidered flowers, and demonstrating the waistline

Hakama (袴)

A divided (umanori-bakama) or undivided skirt (andon-bakama) which resembles a wide pair of trousers. Hakama were historically worn by both men and women, and in modern day can be worn to a variety of formal or informal events. A hakama is typically pleated at the waist and fastened by waist ties over the obi. For women, shorter kimono may be worn underneath the hakama for ease of movement.

Hakama are worn in several budō arts such as aikido, kendo, iaidō and naginata. They are also worn by Miko in Shintō shrines.

Hakama Boots (袴ブーツ)

A pair of boots (leather or faux leather), with low-to-mid heels, worn with a pair of hakama (a pair of traditional Japanese trousers); boots are a style of footwear that came in from the West during the Meiji Era; worn by women while wearing a hakama, optional footwear worn by young women, students and teachers at high-school and university graduation ceremonies, and by young women out celebrating their Coming of Age at shrines, etc., often with a hakama with furisode combination.

Hakoseko (筥迫, lit. "boxy narrow thing")

A small box-shaped billfold accessory; sometimes covered in materials to coordinate with the wearer's kimono or obi. Fastened closed with a cord, and carried tucked-within a person's futokoro, the space within the front of kimono collar and above the obi. Used for formal occasions that require traditional dress, such as a traditional Shinto wedding or a child's Shichi-Go-San ceremony. Originally used for practical uses, such as carrying around a woman's beni ita(lipstick), omamori (an amulet/talisman), kagami (mirror), tenugui (handkerchief), coins, and the like, it now has a more of a decorative role.

Hanten (袢纏, lit. "half-wrap")

The worker's version of the more formal haori. As winterwear, it is often padded for warmth, giving it insulating properties, as opposed to the somewhat lighter happi. It could be worn outside in the wintertime by fieldworkers out working in the fields, by people at home as a housecoat or a cardigan, and even slept-in over one's bedclothes.

Haori

Haori (羽織)

A hip- or thigh-length kimono-like overcoat with straight, rather than overlapping, lapels. Haori were originally worn by men until they were popularised as women's wear as well by geisha in the Meiji period. The jinbaori (陣羽織) was specifically made for armoured samurai to wear.

Haori himo (羽織紐)

A tasseled, woven string fastener for haori. The most formal colour is white (see also fusa above).

Happi (法被)

A type of haori traditionally worn by shop keepers, sometimes uniform between the helpers of a shop (not unlike a propaganda kimono, but for advertising business), and is now associated mostly with festivals.

Haramaki (腹巻, lit. "belly wrap")

Are items of Japanese clothing that cover the stomach. They are worn for health, fashion and superstitious reasons.

Hifu (被布)

Originally a kind of padded over-kimono for warmth, this has evolved into a sleeveless over-kimono like a padded outer vest or pinafore (also similar to a sweater vest or gilet), worn primarily by girls on formal outings such as the Shichi-Go-San ceremony for children aged seven, five, and three.

Jika-tabi (地下足袋)

A modification of the usual split-toe tabi sock design for use as a shoe, complete with rubber sole. Invented in the early 20th century.

Jinbei (甚平)

Traditional Japanese loose-woven two-piece clothing, consisting of a robe-like top and shorts below the waist. Worn by men, women, boys, girls, and even babies, during the hot, humid summer season, in lieu of kimono.

Hadajuban (肌襦袢)

A thin garment similar to a nagajuban; it is considered to be "kimono underwear", worn in direct contact with the skin, and has tube-shaped sleeves. It is worn with a slip-like wrap tied around the waist, with the nagajuban worn on top.[30][31]

Kappōgi (割烹着, lit. "cooking wear")

A type of gown-like apron; first designed to protect kimono from food stains, it has baggy sleeves, is as long as the wearer's knees, and fastens with strips of cloth ties that are tied at the back of the neck and the waist. Particularly used when cooking and cleaning, it is worn by Japanese housewives, lunch ladies, cleaners, etc.

Kasa (傘)

A traditional Japanese oil-paper umbrella/parasol, these umbrellas as typically crafted from one length of bamboo split finely into spokes. See also Gifu umbrellas.

Kinchaku (巾着)

A traditional Japanese drawstring bag or pouch, worn like a purse or handbag (vaguely similar to the English reticule), for carrying around personal possessions (money, etc.). A kind of sagemono (see below).

Kimono slip (着物スリップ, kimono surippu)

A one-piece undergarment combining the hadajuban and the susoyoke.[32][33]

Koshihimo (腰紐, lit. "hip cord")

A narrow strip of fabric used to tie the kimono, nagajuban and ohashori in place while dressing oneself in kimono. They are often made of silk or wool.

Michiyuki (道行き)

A traditional Japanese overcoat (not to be confused with a haori or a hifu), characterised with a signature square neckline formed by the garment's front overlap. It is fastened at the front with snaps or buttons, and is often worn over the kimono for warmth, protection from the weather or as a casual housecoat. Some michiyuki will include a hidden pocket beneath the front panel, and they are typically thigh- or even knee-length.

Nagajuban (長襦袢, lit. "long underwear")

A long under-kimono worn by both men and women beneath the main outer garment.[34] Since silk kimono are delicate and difficult to clean, the nagajuban helps to keep the outer kimono clean by preventing contact with the wearer's skin. Only the collar edge of the nagajuban shows from beneath the outer kimono.[35] Many nagajuban have removable collars, to allow them to be changed to match the outer garment, and to be easily washed without washing the entire garment. They are often as beautifully ornate and patterned as the outer kimono. Since men's kimono are usually fairly subdued in pattern and color, the nagajuban allows for discreetly wearing very striking designs and colours.[36]

Nemaki (寝間着)

Japanese nightclothes.

Back of a woman wearing a kimono with the obi sash tied in the tateya musubi style

Netsuke (根付) or Netsuke (根付け)

An ornament worn suspended from the men's obi, serving as a cordlock or a counterweight. (See also ojime, below).

Obi-age (帯揚げ)

A scarf-like sash worn tied above the obi, either knotted or tucked into the garment's collars. The obi-age has the duel purpose of hiding the obi-makura and providing a colour contrast against the obi. Obi-age are often silk, and are typically worn with more formal varieties of kimono. Obi-age can be plain-dyed silk, but are often decorated with shibori tie-dyeing; for maiko, obi-age are only ever red with a gold or silver foil design.

Obidome (帯留め)

A decorative fastening accessory piece, strung onto the obijime. For maiko, the obi-dome is commonly the most expensive part of the outfit, as they are usually hand-made from precious stones and metal such as gold or silver. Some obijime are woven specially to allow the obidome to be pinned on.

Obi-ita (帯板)

A thin, stiff board, commonly inserted behind the obi at the front, helping to give a smooth, uniform appearance.

Obijime (帯締め)

A decorative woven or padded cord used to assist in tying more complex bows with the obi, also worn as simple decoration on the obi itself. It can be tied at the front, and the ends tucked into the band itself, or tied at the back, in the case of being worn with an obi-dome.

An ojime (see below) can be used to fasten the obijime in place (similar to a netsuke), and also serves as a decoration.

Obi-makura (帯枕)

Padding used to put volume under the obi knot (musubi); to support the bows or ties at the back of the obi and keep them lifted. An essential part of the common taiko musubi ("drum knot").

Ojime (緒締め)

A type of bead used to fasten a obijime in place, like a cordlock. They are also worn between the inrō and netsuke and are typically under an inch in length. Each is carved into a particular shape and image, similar to the netsuke cordlock, though smaller.

Sensu (扇子)

A handheld fan (either an ōgi (扇) or an uchiwa (団扇)), generally made of washi paper coated in paint, lacquer or gold leaf, with bamboo spines. As well as being used for cooling-off, sensu fans are used as dancing props, and are often worn tucked into the obi.

Setta (雪駄)

A flat, thick-bottomed sandal made of bamboo and straw with leather soles, and with metal spikes protruding from the heel of the sole to prevent slipping on ice.

Susoyoke (裾除け)

A thin half-slip-like piece of underwear, like a petticoat, worn by women under their nagajuban.[30][37]

Suzu (鈴)

A round, hollow Japanese Shinto bell or chime. They are somewhat like a jingle bell in form, though the materials produce a coarse, rolling sound. Suzu come in many sizes, ranging from tiny ones on good luck charms (called omamori (お守り)) to large ones at shrine entrances. As an accessory to kimono wear, suzu are often part of kanzashi.

Tabi (足袋)

Ankle-high, divided-toe socks usually worn with zōri or geta. There also exist sturdier, boot-like jikatabi, which are used for example to fieldwork.

Tasuki (襷)

A pair of sashes that loop over each shoulder and across the back, used for holding up kimono sleeves when working.

Tenugui (手拭い, lit. "hand wiper")

A rectangular piece of fabric, usually cotton or linen, used for a variety of purposes, such as a handkerchief, hand towel and headscarf. tenugui come in a number of colours and patterns, and are also used as accessories in traditional Japanese dance and in kabuki.

Waraji (草鞋)

Traditional sandals woven from rope, designed to wrap securely around the foot and around the ankle; mostly worn by monks, and previously common footwear for the working classes.

Yumoji (湯文字)

A traditional kimono undergarment; a simple wrap-around skirt, worn with a susoyoke.

Women's straw zōri

Zōri (草履)

Traditional sandals worn by both men and women, similar in design to flip-flops. Their formality ranges from strictly informal to fully formal. They are made of many materials, including cloth, leather, vinyl and woven bamboo, and can be highly decorated or very simple.

How to fold a kimono

In the past, a kimono would often be entirely taken apart for washing, and then re-sewn for wearing.[18] This traditional washing method is called arai hari. Because the stitches must be taken out for washing, traditional kimono need to be hand sewn. Arai hari 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 practiced, especially for high-end garments.

New, custom-made kimono are generally delivered to a customer with long, loose basting stitches placed around the outside edges. These stitches are called shitsuke ito. 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. Kimono are often stored wrapped in paper called tatōshi.

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 cleaned. Although this can be extremely expensive, it is generally less expensive than arai hari but may be impossible for certain fabrics or dyes.

Wikimedia Commons has media related to kimono.

Look up kimono in Wiktionary, the free dictionary.

Wikivoyage has a travel guide for Kimono buying guide.

• The Canadian Museum of Civilization - Archive of the exhibition "The Landscape Kimonos of Itchiku Kubota"
• The Kyoto Costume Museum - Costume History in Japan
• Archived link to the Immortal Geisha Forums; comprehensive resource on kimono knowledge and culture
• Articles on kimono from the V&A Collection