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KIMONO


P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

INTRODUCTION

Textiles have long been a source of information on a

of both the men’s and women’s kimono has remained es-

society’s culture. Throughout both western and eastern

sentially unchanged.

history alike, textiles have possessed the power to sig-

Kimonos can range in color, from elaborate compositions

nify one’s status. The kimono, a traditional, embroidered

to more subtle works. Different styles are crafted for vari-

Japanese garment, has evolved throughout history to be-

ous occasions and seasons. A formal kimono is one of the

come an integral part of the country’s

larger investments a Japanese individual will make during

culture.

their lifetime. There are precise rules for wearing, storing and cleaning these garments all in an effort to preserve

Embroidery traveled along the silk road from China

both the material and culture.

around the second century BC and made its way through Korea to Japan. The isolation of the island allowed for in-

The kimono is not complete without the obi as it secures

novative design and style unique to Japan.

the kimono. Interestingly, obis are quite extravagant and can be more elaborate and expensive than the actual ki-

The evolution of hand embroidery and the kimono devel-

mono itself. Other accessories include zori or geta (tradi-

oped over generations. Embroidery was first used in Ja-

tional footwear) and tabi (split-toe socks).

pan to decorate religious items, however, the Heian Period (794–1192 AD) saw the decoration of textiles to serve a

The kimonos and obis in this exhibition date from around

more secular purpose: adorning the vestments of royalty

the 20th century. The presentation brings together a vari-

and the wealthy.

ety of formal and wedding kimonos with numerous obis. The grouping demonstrates the proliferation of embroi-

During the Edo Period, from 1615 - 1868, and the subse-

dery throughout the Japanese peninsula and beyond

quent Meiji period that lasted until 1912, personal expres-

and affords viewers the opportunity to view a wide stylis-

sion flourished. Style and status were conveyed through

tic variety of kimonos. They normally took a minimum of

the wearing of the kimono.

two people to weave and embroider over a period of six

The word “kimono” literally translates to “garment,”

months to even a year. Each garment tells a story. From

with ki () meaning “to wear,” and mono () “thing” or “object.”

the choice of fabric to its coloring and design, these piec-

The garment’s sleeves began to grow in length during

es were more than just that clothing. The kimonos served

this time, especially among unmarried women, and the

as an integral part of the wearer’s identity, each unique

Obi, or belt, became wider. Since then, the basic shape

and handed down to the next generation.


wedding

KIMONO


P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

KIMONO SYMBOL MEANINGS FLORAL MOTIFS CHRYSANTHEMUM (KIKU)

PLUM BLOSSOM (UME)

and Spider chrysanthemum with wild tendril petals) is an

is the first flower to bloom in the spring and is known as

auspicious symbol of regal beauty, rejuvenation and lo-

the ‘Flower of Peace’. A protective charm against evil, it

gevity. Used as the Imperial Seal of Japan, it also repre-

also represents longevity, renewal and perseverance.

sents autumn and is associated with the Chrysanthemum

Identified by rounded petals.

Festival (Kiku-no-Sekku) held on the 9th day of the 9th month.

WISTERIA (FUJI) signifies love and is also used in many Japanese family

PINE TREE (MATSU)

crests (Kamon).

symbolises longevity, steadfastness and wisdom in age. Associated with winter and New Year. Sometimes

CHERRY BLOSSOM (SAKURA)

represented by the pine bark diamond pattern.

with it’s distinctive notched petals, blooms briefly and is fragile. It symbolises new beginnings, renewal (early

IRIS (KAKITSUBATA)

Spring), beauty and the transience of life.

by a running stream evokes the tenth century ‘Tale of Ise’. A far travelling poet arrives at Yatsuhashi, sees irises in full

BELLFLOWER (KIKYO)

bloom and is struck by such longing for his wife left in far

is a white, five petal flower and the symbol of

away Kyoto that he writes a verse for her beginning each

unchanging love, honesty and obedience.

line with a syllable from the flower’s name ‘ka-ki-tsu-ba-ta’. Signifies protection from evil spirits.

PAULOWNIA TREE (KIRI) is a fast growing tree with foxglove-like purple flowers

PEONY (BOTAN)

and the only tree the Phoenix will alight upon. Planted

is known as the ‘King of the Flowers’ and symbolises

when a baby girl is born, the wood is then used to fashion

good fortune (wealth), high honour (nobility) and ageless

articles for her dowry. Traditional national symbol, often

beauty.

seen in family crests.


P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

KIMONO SYMBOL MEANINGS PAT T E R N S A N D OT H E R SY M B O L S SEIGAIHA

CRANES (TSURU)

is a pattern of overlapping circles, symbolic of waves and

are believed to live for a thousand years and inhabit the

the ebb and flow of life.

land of the immortals. Symbolise longevity and good fotune. A pair represent a happy marriage.

SHIPPO is an infinitely repeating circular design representing the

DRUM (TAIKO)

seven jewels or treasures from the Buddhist Sutras.

A drum represents joy. Ivy growing over a drum (used to warn of war) signifies.

HEXAGONS

SCROLLS

represent the pattern on a tortoise shell and signify lon-

represent learning, knowledge and a cultured life. One of

gevity and good fortune. Also traditional inspiration for

the Myriad Treasures.

Samurai armour designs. MOUNTAINS (YAMA) DIAMONDS OR PINE BARK DIAMOND PATTERN

depict sacred places between heaven and earth. Birds

–see Pine Tree (Matsu).

flying over mountains signify overcoming life’s challenges.

PEACOCK (KUJAKU) This bird is associated with love, good will, nurturing, and

RIVER (KAWA)

a kind heart.

or winding stream represents continuity and the future.


J A P A N E S E,

E M B R O I D E D,

A N T I Q U E

W E D D I N G

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

K I M O N O


J A P A N E S E,

E M B R O I D E D,

A N T I Q U E

W E D D I N G

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

K I M O N O


J A P A N E S E,

E M B R O I D E D,

A N T I Q U E

W E D D I N G

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

K I M O N O


J A P A N E S E,

E M B R O I D E D,

A N T I Q U E

W E D D I N G

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

K I M O N O


J A P A N E S E,

E M B R O I D E D,

A N T I Q U E

W E D D I N G

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

K I M O N O


JAPANESE, SHUSU EMBROIDED, JACQUARD, ANTIQUE WEDDING KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, SUMI-E HANDPAINTED, ANTIQUE WEDDING KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


J A P A N E S E,

E M B R O I D E D,

J A C Q U A R D

W E D D I N G

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

K I M O N O


J A P A N E S E,

E M B R O I D E D,

J A C Q U A R D

W E D D I N G

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

K I M O N O


J A P A N E S E,

J A C Q U A R D

W E D D I N G

K I M O N O

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, EMBRIODERED, SHUSU EMBROIDED, JACQUARD, ANTIQUE WEDDING KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


casual

KIMONO


JAPANESE, YUZEN RESIST DYED, ANTIQUE CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE JACQUARD, ANTIQUE, CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE STENCIL DYED KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE EMBRIODERED, JACQUARD, CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

JA PA N ES E , A N T I Q U E I K AT DY E D K I M O N O

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE STENCIL DYED KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .



JAPANESE JACQUARD, ANTIQUE, CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE JACQUARD, ANTIQUE, CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE STENCIL DYED CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE STENCIL DYED, JACQUARD CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE STENCIL DYED, JACQUARD, CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE STENCIL DYED, CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE STENCIL DYED, JACQUARD, CASUAL KIMONO

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


SUMI-E PAINTING

JACQUARD

SHUSU

K ATA ZO M E

TECHNIQUES

SUMI-E PAINTING

KATAZOME

Free-hand painting with indelible inks and brushes is also

These fabrics are produced with stencils. Rice paste is

a time- honored Japanese method of fabric decoration.

pressed through the elaborately cut, heavy, oiled stencils

It appears on kimonos, but even more frequently on the

onto the fabric; then after drying, the fabrics are immersed

pictorial linings of men’s short black haori jackets.

in the dye pots. This process has often been used with indigo blue on cotton for summer yukata kimono or for

SHUSU

futon covers. Sometimes wax has been used instead, as

Gold and silver threads are made of foil applied to thin

in batiks made elsewhere.

membrane or paper strips which are wrapped around

EMBRIODERY

silk threads. These metallic threads cannot be stitched

EMBRIODERY

through the silk fabrics, so they are traditionally “couched”:

Japanese artisans have used embroidery to create

laid on the fabric surface and stitched down with fine silk

opulent effects on kimono especially lavish wedding

threads. Motifs may be outlined with gold couching or

kimono. With silk floss and variations on the “long and

entire motifs may be formed with metallic yarns placed

short stitch” or satin stitch, hira-nui, they have built up

side by side.

entire motifs, as in the feathers below. Some forms have even become three-dimensional.

YUZEN RESIST DYEING JACQUARD The Taishō period (1912-1926) was one of confidence and

YUZEN RESIST DYEING

optimism in Japan. Industrial development was stimulated

With a dyeing technique invented in 17th century Kyoto,

by the First World War, economic prosperity being

a mixture of rice paste and soybeans has been used

matched by political democratisation. Power-operated

to draw delicate free-hand linear motifs on white silk.

spinning machines and jacquard looms introduced from

An artist squeezes the paste through a funnel-shaped

Europe had speeded up production and lowered costs,

container much like a small pastry bag. After this paste

while chemical dyes allowed for the creation of dazzling

resist dries, he paints the areas on both sides of the lines

colours. In the early 20th century new types of silk and

with brushes, using the desired dye colors. Delicate

innovative patterning techniques were also developed,

shaded effects can be created, and the rice paste outlines

making

fashionable

prevent the dye from seeping into surrounding areas.

garments available to more people than ever before.

Even broad expanses of the background color are dyed

These vibrant kimono styles remained popular until the

in this manner by hand painting.

1950s.

relatively

inexpensive,

highly


KASURI

SURIHAKU

HITOMEZASHI SASHIKO STITCHING

S U R I H A K U ( PAT T E R N )

TECHNIQUES

KASURI (IKAT)

is pressed onto the partially dried rice paste. The foil falls

Ikat fabrics are made by selectively binding and dyeing

away in surrounding areas. In the past, surihaku deco-

parts of the warp or weft threads, or even both, before the

ration was widely used on dramatic Noh theatrical cos-

fabric is woven. It is an arduous and exacting process. For

tumes, and its use continued on lavish formal kimono and

either silk or cotton fabrics, the threads are stretched on

ceremonial uchikake wedding kimono.

a frame (below), selected design areas are bound, then the hanks of bound threads are immersed in the dye pots.

SHIBORI These fabrics are tie-dyed. Most often, areas are pat-

SHIBORY

FIGURED WEAVES

HITOMEZASHI SASHIKO STITCHING

terned by tightly wrapping tiny sections of the light-

Sashiko embroidery was used to strengthen the home-

weight white silk with thread. When the fabric is dyed, the

spun clothes of olden times. Worn out clothes were

wrapped areas remain white, forming a pleasant, slightly

pieced together to make new garments by using simple

irregular repeat pattern of tiny circles. An entire surface

running stitches. These clothes increased their strength

covered in this way is called kanoko shibori. The fabric

with this durable embroidery. By the Meiji era (1868-1912)

may be allowed to retain its characteristic puckered sur-

sashiko had been established enough that it had evolved

face. Shibori techniques can also be produced by clamp-

into winter work in northern farming communities, when it

ing, stitching or folding the fabrics in various ways to pro-

was too cold to work outside.

duce unusual patterning.

The designs are made up of dense stitches arranged to build a pattern, while a the same time adding

FIGURED WEAVES

extra strength to the fabric(s) they are stitched on. Where

Historically draw looms, and more recently jacquard

simple sashiko designs make large overall designs on the

looms, have been used to produce a variety of weaves

fabric, Hitomezashi designs built small denser designs

with stunning tone-on-tone patterning. Damasks, bro-

that look rather like weaving patterns.

cades and twills are among the structures employed. White wedding kimono often exploit the possibilities of

SURIHAKU

these techniques, and obi designs have employed an

Sometimes, along with colored dyes, gold or silver me-

even wider range of complex weaves. Brocade designs

tallic foil is applied to the fabric surface, creating lavish

have been woven with contrasting colors or materials

effects. Rice paste is first applied to the fabric in design

such as metallic or lacquered threads.

areas either drawn freely, or stenciled. Then metallic leaf


KIM OO BN I O


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .


JAPANESE, ANTIQUE JACQUARD, OBI

P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .



P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

Exhibit Owner:

Catalogue designer:

Woo Family Charitable Foundation, Inc.

Gundega Strautmane

P.O. Box 801

Rezekne, Latvia

Flemington, NJ 08822

Web.: gundegastrautmane.com

Co-Curator:

Kimono Model:

Glenn Frank Woo

Keiko Ura

Flemington, NJ

Hokkaido, Japan

gfwooNY@gmail.com

Honolulu, Hawaii

Elina Veilande-Apine Riga, Latvia

Kimono repair and restoration:

web.: elina.veilands.com

Antra Salina Riga, Latvia

Kimono consultants:

antra.salina@gmail.com

Rukio Ito

Elina Veilande-Apine

Tokyo, Japan

Riga, Latvia

Keiko Ura

web.: elina.veilands.com

Hokkaido, Japan

For more information contact: Catalogue Editor and Forward:

Linda Lew

Alexandra Seneca

P.O. Box 801

New York City, NY

Flemington, NJ 08822

Catalogue photographers: Karlis Apinis, Riga site photographer Riga, Latvia Loke Chong Gum, Hawaii site photographer Honolulu, Hawaii www.instagram.com/teurirose/ Hawaii, photography set up director Amber Manini


P R O P E R T Y O F W O O FA M I LY C H A R I T A B L E F O U N D A T I O N , I N C .

KIMONO


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