Marika Koizumi 2015 Nobuko Yabe 2015 – 2017
83-410: Koakuma Ageha ( 小悪魔ageha , lit. "Little-devil (or demon) Swallowtail [butterfly] ") is Japanese magazine that introduces the latest fashion and lifestyle trends popular among hostesses that is published twice a year, with the main target audience being women in their teens to 20s. Fans of the magazine are also referred to as "agejo" (age嬢, a combination of "Ageha" and "Lady") and often members of
166-543: A dōnuki . Kimono that were in better condition could be re-used as an under-kimono, or to create a false underlayer known as a hiyoku . Children also traditionally wore kataire , kimono made of a fancier material in the okumi and upper back. Kimono are traditionally made from a single bolt of fabric known as a tanmono , which is roughly 11.5 metres (38 ft) long and 36 centimetres (14 in) wide for women, and 12.5 metres (41 ft) long and 42 centimetres (17 in) wide for men. The entire bolt
249-464: A "textbook for hostesses". Some describe this magazine as the "bible for hostesses". After multiple bankruptcies, Koakuma Ageha was revived as online magazine on January 5, 2021 with special physical issues releasing bi-yearly since May 26, 2021. Koakuma Ageha was first published under the name "Koakuma & Nuts" in October 2005 with a 27-year-old woman, Hisako Nakajo, who had been familiar with
332-420: A few percent of the bought-new price. In the 1990s and early 2000s, many secondhand kimono shops opened as a result of this. In the early years of the 21st century, the cheaper and simpler yukata became popular with young people. Around 2010, men began wearing kimono again in situations other than their own wedding, and kimono were again promoted and worn as everyday dress by a small minority. Today,
415-434: 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 shigoki obi ; though kimono 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 ohashori of the modern day. Kimono have a set method of construction, which allows
498-480: A lifestyle, is noted for its tendency to be "local-oriented", in contrast to most other fashion-based lifestyles which tend to be Tokyo -centric. Koakuma Ageha' s uniqueness is also attributed to its tone; it features hostesses' lifestyles without romanticization, not just recounting the glamorous aspects, and although its main focus is, of course, fashion, it sometimes features the serious themes of "yami (simultaneously meaning "darkness 闇 " and "sickness 病 ") in
581-471: A long, narrow bolt of cloth known as a tanmono , 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
664-455: A major influence. From this point onwards, the basic shape of both men's and women's kimono remained largely unchanged. 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 to support them. In the Edo period, the kimono market
747-489: A person wears their kimono is known as kitsuke ( 着付け , lit. ' dressing ' ) . 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 favor and is rarely worn as everyday dress now. They are most often seen at summer festivals, where people frequently wear
830-415: 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. 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 kimono lost their previous hold over
913-514: A subtle pattern, and textured fabrics are more common in informal men's kimono. Informal men's kimono 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 kimono, which they are required to wear when appearing in public. The fabrics that kimono are made from are classified in two categories within Japan. Gofuku ( 呉服 )
SECTION 10
#1732780727522996-589: 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 hōmongi , divisions of tomesode (short-sleeved) kimono for women, and montsuki hakama . The bridal kimono trousseau ( oyomeiri dōgu ), an uncommon practice of
1079-778: 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 boroboro (patchwork) kimono (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. Sashiko are used to hold cloth together and decorate it. The cloth used for patchwork clothing must all be of similar weight , drape , and handle . Formal kimono, made of expensive and thin silk fabrics, would have been re-sewn into children's kimono when they became unusable for adults, as they were typically unsuitable for practical clothing; kimono were shortened, with
1162-635: A wide variety of fibre types, including hemp, linen, silk, Japanese crêpe (known as chirimen ), and figured damask weaves ( rinzu ). Fabrics are typically – for both obi and kimono – woven as tanmono (bolts of narrow width), save for certain types of obi (such as the maru obi ), woven to double-width. Formal kimono are almost always made from silk, with thicker, heavier, stiff or matte fabrics generally being considered informal. Modern kimono are widely available in fabrics considered easier to care for, such as polyester. Kimono linings are typically silk or imitation silk, and often match
1245-534: Is a bi-monthly fashion and cosmetic magazine, and its target audience is females in their late twenties and older. Kimono Ageha ( 着物ageha ) was first published in December 2010 as a special edition of Koakuma Ageha . It is an irregularly published magazine specialized in kimono , and is modeled by Koakuma Ageha models. I Love Mama «stylized as "I LOVE mama"» was first published in September 2008 under
1328-707: Is a chief critic and columnist for American Vogue . She is also an advocate for young designers as the Ambassador for Emerging talent at the British Fashion Council since 2009. Mower received the MBE in 2011 in recognition of her contributions to fashion. Suzy Menkes OBE is a veteran fashion journalist who was most recently the Editor of Vogue International, departing in October 2020. She also helmed The New York Times International Edition back when it
1411-409: Is a component of fashion media, with a focus on writing and photojournalism . Fashion journalists write about and critique fashion events and trends as well as cultivate and maintain relationships with stylists and designers. Fashion journalists are either employed full-time by a publication , or submit articles on a freelance basis. Fashion photography , which supplanted fashion illustration in
1494-521: Is considered quite unique for a Japanese fashion magazine, as Japanese fashion magazines are in general relentlessly light-hearted from beginning to end. Ageha models often garner an almost cult-like popularity and attract large amounts of media attention. Eri Momoka, known as "Momoeri", is an early example, and just like Momoka, who has her own brand "Moery", some Ageha models individually launch their own fashion brands. Sumire (1987–2009) launched her own fashion brand "Divas" and often introduced herself as
1577-517: Is key to being hired as a fashion journalist post-grad. Vanessa Friedman is the chief fashion director and fashion critic for The New York Times . Before joining the team at the Times , Friedman was the first fashion editor at the Financial Times , alongside her job editing the pages of Luxury360 vertical. Previously, she was the features editor for InStyle UK. She was the 2012 recipient of
1660-435: Is real-time updates/corrections to misinformation. Major fashion magazines such as Vogue , Elle , Marie Claire , Cosmopolitan , and Paper Magazine have altered their business models due to the onset of the digital age, creating an online component in addition to print. Social media has also contributed to the rise in these digital magazine platforms, allowing them to be far more interactive than they have been in
1743-620: Is the term used to indicate silk kimono fabrics, composed of the characters go ( 呉 , the Japanese pronunciation of "Wu") , referring to the State of Wu in ancient China where silk weaving technology developed, and fuku ( 服 , meaning "clothing") . The term gofuku is also used to refer to kimono in general within Japan, particularly within the context of the kimono industry, as traditional kimono shops are referred to as either gofukuten ( 呉服店 ) or gofukuya ( 呉服屋 ) – with
SECTION 20
#17327807275221826-455: 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. Kimono linings are made from bolts of the same width. 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
1909-408: The yukata , the most informal type of kimono. More formal types are worn to funerals, weddings, graduations, and other formal events. Geisha and maiko are required to wear a kimono as part of their profession, and rikishi ( sumo wrestlers) must wear kimonos at all times in public. Despite the small number of people who wear it regularly and its reputation as a complicated garment,
1992-402: The okumi taken off and the collar re-sewn to create haori , 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 kimono; the excess fabric would be used as a furoshiki (wrapping cloth), could be used to lengthen the kimono at the waist, or could be used to create a patchwork undergarment known as
2075-527: The Azuchi–Momoyama period (1568–1600), the decoration of the kosode developed further, with bolder designs and flashy colours becoming popular. By this time, separate lower-body garments, such as the mō and hakama , were almost never worn, allowing full-length patterns to be seen. During the Edo period (1603–1867 CE), both Japan's culture and economy developed significantly. A particular factor in
2158-571: The Great Kantō Earthquake of 1923, cheap, informal and ready-to-wear meisen kimono, woven from raw and waste silk threads unsuitable for other uses, became highly popular, following the loss of many people's possessions. 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
2241-466: 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". After an edict by Emperor Meiji , 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
2324-573: 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. Both kimono and obi are made from
2407-701: The gyaru scene, as its chief editor. Koakuma & Nuts was only a special edition of the dark-skin oriented Happie Nuts gyaru fashion magazine, but after publication of the second issue, it changed its name to "Koakuma Ageha" and became monthly in October 2006. Circulation was then around 220,000 but climbed to 350,000 by the end of 2008. Hisako Nakajo left Koakuma Ageha , and its parent company Inforest Publishing, in November 2011. Koakuma Ageha ' s exclusive models are called "Age-mo(s)", and its irregularly appearing models are called "Age-jo(s)" ( アゲ嬢 ) . Most of them are active hostesses from various cities "of
2490-404: The ikat ( kasuri ) technique of dyeing, where either warp or both warp and weft threads (known as heiyō-gasuri ) were dyed using a stencil pattern before weaving. 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,
2573-447: The mо̄ [ ja ] ( 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 kosode ( lit. ' small sleeve ' ) garment—previously considered underwear—becoming outerwear by
Koakuma Ageha - Misplaced Pages Continue
2656-561: The "Divas designer" during the last days of her life. Shizuka Mutoh, an irregularly appearing Ageha model, launched her own fashion brand "Rady" in 2008 and its monthly net earnings reached $ 1 million in April 2011. Ane Ageha ( 姉ageha , meaning "Older-sister Swallowtail") was first published in November 2010 under the name "Oneh-san Ageha" ( お姉さんageha ) as a special edition of Koakuma Ageha , and it became independent in March 2011. Ane Ageha
2739-548: The "proper" kitsuke of upper-class women. However, kitsuke standards were still relatively informal, and would not become formalised until after World War II. While kimono 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 kitsuke (wearing kimono) were still not as formalised in this time, with creases, uneven ohashori and crooked obi still deemed acceptable. During
2822-465: The 1900s, is a type of photojournalism used in fashion journalism. The Internet has given rise to several outlets for amateur fashion journalism, such as blogs and vlogs . Fashion journalism developed during the 18th century, when the fashion dolls – dolls designed to display relevant fashion ensembles – were replaced by fashion magazines , notably the Cabinet des Modes , which is recognized to be
2905-513: The 1930s. 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 yukata are commonly seasonal motifs worn out of season, either to denote
2988-653: The 19th century, numerous fashion magazines were published, employing fashion journalists reporting on the latest trends from Paris. Among the earliest in Great Britain were Ann Margaret Lanchester , who published her own fashion paper, the Le Miroir de la Mode , and Mary Ann Bell , writing for the La Belle Assemblée in the early 19th-century. Fashion magazines of the 20th century include Elle and Vogue . As society increases its dependence on
3071-695: The Front Page Award for fashion writing and the 2013 Fashion Monitor Journalist of the Year award. Robin Givhan is the first and only fashion journalist to win The Pulitzer Prize for Criticism as of 2006. She drew attention to her work after criticizing former US Vice President Dick Cheney for wearing casual attire (a ski cap and parka) to a ceremony commemorating the 60th anniversary of the liberation of Auschwitz. In this piece, Givhan stressed
3154-557: The Gyaru subculture. During its peak in 2008, 300,000 of the 400,000 copies produced were sold. In addition to this extremely high circulation, the Koakuma Ahega is unique for promoting hostess club (Japanese-style cabaret ) culture, as it mainly targets women who work at hostess clubs as hostesses, and most of its models are hostesses who actually work at hostess clubs. Sociologist Shinji Miyadai has described this magazine as
3237-525: The Meiji period, stores only retailing futomono kimono became less profitable in the face of cheaper everyday Western clothing, and eventually went out of business, leaving only gofuku stores to sell kimono – leading to kimono shops becoming known only as gofukuya today. Kimono can readily be resized, or unpicked back into tanmono (bolt) lengths. Outside of being re-woven into new fabrics, worn-out kimono have historically been recycled in
3320-507: The Tokyo Women's & Children's Wear Manufacturers' Association ( 東京婦人子供服組合 ) promoted Western dress as everyday clothing. Western clothing quickly became standard issue as army uniform for men and school uniform for boys, and between 1920 and 1930, the fuku sailor outfit replaced the kimono and undivided hakama as school uniform for girls. However, kimono still remained popular as an item of everyday fashion; following
3403-467: The additional character of ya ( 屋 ) meaning 'shop'. Cotton and hemp fabrics are referred to generally as futomono ( 太物 ) , meaning "thick materials", with both cotton and hemp yarns being considerably thicker than silk yarns used for weaving. Cotton kimono are specifically referred to in the context of materials as momenfuku ( 木綿服 ) , "cotton clothes", whereas hemp kimono are known as asafuku ( 麻服 ) , "hemp clothes", in Japanese, with
Koakuma Ageha - Misplaced Pages Continue
3486-414: The aristocracy and samurai classes, shown by their brightly-coloured kimono that utilised expensive production techniques, such as hand-painted dyework. Rinzu , a damask fabric, also became the preferred material for kimono at this time, replacing the previously-popular nerinuki plain-weave silk, which had been used to create tsujigahana . In response to the increasing material wealth of
3569-599: The body. During the Heian period (794–1193 CE), Japan stopped sending envoys to the Chinese dynastic courts. This prevented Chinese-imported goods—including clothing—from entering the Imperial Palace . This also prevented dissemination to the upper classes, who were the main arbiters of traditional Japanese culture at the time, and the only people allowed to wear such clothing. The ensuing cultural vacuum facilitated
3652-451: The character for hemp – asa ( 麻 ) – also being used to refer widely to hemp, linen and ramie kimono fabrics. Until the end of the Edo period, the tailoring of both gofuku and futomono fabrics was separated, with silk kimono handled at shops known as gofuku dana , and kimono of other fibres sold at shops known as futomono dana . Stores that handled all types of fabric were known as gofuku futomono dana , though after
3735-452: 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
3818-449: The coming season. Though men's kimono historically displayed just as much decoration and variety as women's kimono, in the modern era, the principal distinction of men's kimono 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 kimono. Some men's kimono have
3901-498: The development of a Japanese culture independent from Chinese fashions. Elements previously lifted from the Tang Dynastic courts developed independently into what is known literally as "national culture" or " kokufū culture" ( 国風文化 , kokufū-bunka ) . The term is used to refer to Heian-period Japanese culture, particularly that of the upper classes. Women's clothing in the imperial palace became increasingly stylised in
3984-436: 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 ( chōnin ), whose clothing was representative of their increasing economic power and rivaled
4067-439: The early 1900s, shorter lengths were used, and sometimes the body of the kimono was made only a single cloth width wide ( hitotsumi ). Tucks were also used to take in the garment; an outwards-facing pleat at each shoulder ( kata-nue-age ) and a kolpos -like overfold at the hip ( koshi-nue-age ), 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
4150-413: The early Meiji period to Western trade, a number of materials and techniques – such as wool and the use of synthetic dyestuffs – became popular, with casual wool kimono being relatively common in pre-1960s Japan; the use of safflower dye ( beni ) for silk linings fabrics (known as momi ; literally, "red silk") was also common in pre-1960s Japan, making kimono from this era easily identifiable. During
4233-415: The entire garment to be taken apart, cleaned and resewn easily. As the seam allowance on nearly every panel features two selvedges 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
SECTION 50
#17327807275224316-497: The entire 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 kimono, mostly unworn, in their homes; a secondhand kimono, even if unworn, would sell for about 500 yen (less than £3.50; about US$ 5),
4399-489: 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, kimono were taken apart entirely to be washed – a process known as arai-hari . Once cleaned,
4482-408: 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 kimono, including silk kimono and all formal kimono, are still hand-sewn entirely; even machine-sewn kimono require some degree of hand-sewing, particularly in finishing the collar, the hem, and
4565-745: The first true fashion magazine. This Partisan publication had illustrated fashion plates that "...fed the increasing appetite for French fashion, which was growing in tandem with the expanding urban population's desire to separate itself from the way of life plotted out and decreed by the French Court". It was followed abroad by Journal des Luxus und der Moden (1786–1827) in Germany, Giornale delle Dame e delle Mode di Francia (1786–1794) in Milan, and Gallery of Fashion (1794–1803) in Britain. During
4648-409: The formal jūnihitoe , with some elements being abandoned by both male and female courtiers, such as the round-necked and tube-sleeved chun ju 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 mo skirt worn by women, continued to in a reduced capacity, worn only to formal occasions;
4731-461: The formalisation. ). Kimono were promoted as essential for ceremonial occasions; for instance, the expensive furisode worn by young women for Seijinshiki was deemed a necessity. Bridal trousseaus containing tens of kimono of every possible subtype were also 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
4814-419: The front with a left-to-right closure, following typical Chinese fashions. 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
4897-406: The human heart". Models talk actively about their "darksides" in their own way, and often reveal some "negative secrets" about their lives and pasts, such as the ones about delinquency , running away , hikikomori , bullying , betrayal , heartbreak , mental illness , trauma , suicide , self-image issue , sexuality , loneliness , abused childhood , domestic violence , and alcoholism . This
4980-558: The importance of how political leaders choose to present themselves. Cathy Horyn is the critic-at-large for New York Magazine's The Cut since 2015, having spent 15 years as the former chief critic of The New York Times with roles at The Washington Post and Vanity Fair. In 2001, she was awarded the Eugenia Sheppard Award for fashion writing by the Council of Fashion Designers of America . Sarah Mower MBE
5063-432: The internet, the journalism industry is becoming far more fluid. Printing, being more costly and less convenient, many publications (such as Nylon magazine) have opted to focus on digital publication . Digital journalism gives the writer unlimited space (rather than forcing an article to fit in a magazine or newspaper layout), and allows for links to external resources, and many images. Another major advantage of digital media
SECTION 60
#17327807275225146-784: The kimono has experienced a number of revivals in previous decades, and is still worn today as fashionable clothing in Japan. The first instances of kimono-like garments in Japan were traditional Chinese clothing introduced to Japan via Chinese envoys in the Kofun period (300–538 CE; the first part of the Yamato period), through 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. The Imperial Japanese court quickly adopted Chinese styles of dress and clothing, with evidence of
5229-745: The kimono, and an increasingly tubular figure was promoted as the ideal for women in kimono. The kimono-retail industry also 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 kitsuke schools were set up to teach women how to don kimono. Men in this period rarely wore kimono, and menswear thus escaped most of
5312-415: The lining, if present. Hand-sewn kimono are usually sewn with a single running stitch roughly 3 millimetres (0.12 in) to 4 millimetres (0.16 in) 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 2 millimetres (0.079 in) (known as the kise ) pressed over each seam. This disguises
5395-437: The majority of people in Japan wear Western clothing as everyday attire, 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 2019, the mayor of Kyoto announced that his staff were working to register "Kimono Culture" on UNESCO 's intangible cultural heritage list. In 2020,
5478-512: The merchant classes, the Tokugawa shogunate issued a number of sumptuary laws on kimono for the lower classes, prohibiting the use of purple or red fabric, gold embroidery, and the use of intricately dyed shibori patterns. 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
5561-439: The most formal kimono, this is more of a general suggestion than a strict rule. Formal kimono are typically decorated with dyed patterns, commonly found along the hemline. These patterns may feature embroidery in parts, couched 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 ( ryōzuma ) being typical for kimono made before
5644-403: The name "Mama Nuts × Ageha" as a special co-edition of Koakuma Ageha with Happie Nuts . Mama Nuts × Ageha changed its name to "I Love Mama" and became monthly in March 2009. I Love Mama is a magazine especially for gyaru women who have gotten pregnant and become mothers (called "gyaru mama") — the first-ever magazine dedicated to gyaru-mamas. Fashion magazine Fashion journalism
5727-417: 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 obi , and is commonly worn with accessories such as zōri sandals and tabi socks. Kimono have a set method of construction and are typically made from
5810-519: The night" all over the islands of Japan. Unlike the ones in Happie Nuts , Ageha models are not required to be dark-skinned. Their unique styles of fashion is called "Ageha-kei" ( アゲハ系 , lit. "Ageha-style") , which has become quite popular among women in their teens and 20s. Some explain the typical "Ageha-kei" style as an "evolved form of the gyaru style, grown in the cradle of the hostess club scene, with an essence of yanki ". The Ageha style, as
5893-561: The oldest samples of shibori tie-dyed fabric stored at the Shōsōin Temple being of Chinese origin, due to the limitations of Japan's ability to produce the fabrics at the time. As early as the 4th century CE, images of priestess-queens and tribal chiefs in Japan depicted figures wearing clothing similar that of Han dynasty China. In 718 CE, the Yoro clothing code was instituted, which stipulated that all robes had to be overlapped at
5976-480: The past. The Internet has given rise to a number of outlets for amateur fashion journalism, such as blogs and vlogs . Journalism is a general liberal arts major that can be studied at many universities. A concentration in fashion journalism is specific to a number of fashion schools. Generally, a fashion journalist needs at least a BA in fields such as journalism, communications, fashion or other related areas. A strong portfolio and experience in reporting on fashion
6059-431: The seasons. 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
6142-548: 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
6225-420: The spring just passed or the desire for cooler autumn or winter temperatures. Colour also contributes to the seasonality of 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
6308-408: The stitches, as hand-sewn kimono are not tightly sewn, rendering the stitches visible if pressed entirely flat. A number of terms are used to refer to the different parts of a kimono. Kimono that are lined are known as awase kimono, whereas unlined kimono are known as hitoe kimono; partially lined kimono – with lining only at the sleeve cuff, the back of the sleeve, the lower chest portion of
6391-511: The time of the Muromachi period (1336–1573 CE). Originally worn with hakama , the kosode began to be held closed with a small belt known as an obi instead. The kosode 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
6474-739: The top fabric in fibre type, though the lining of some casual silk kimono may be cotton, wool or linen. Kimono fabrics are often decorated, sometimes by hand, before construction. Customarily, kimono with woven patterns are considered more informal, though for obi , the reverse is true, with obi featuring dyed patterns being less formal than obi with woven patterns. Though kimono fabrics with woven patterns are typically not especially heavy and can be lightweight, obi fabrics with woven patterns are often very heavy, with many formal obi being made from thickly-woven brocade. Traditionally, woven kimono are paired with obi that are decorated with dyed patterns, and vice versa. However, for all but
6557-431: 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 kitsuke at this time began to slowly graduate to a more formalised, neatened appearance, with a flat, uniform ohashori and a smooth, uncreased obi , which also resembled
6640-420: The war, kimono factories shut down, and the government encouraged people to wear monpe (also romanised as mompe ) – 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. Cloth rationing persisted until 1951, so most kimono were made at home from repurposed fabrics. In
6723-405: The wedding, including being transported in transparent trucks. By the 1970s, formal kimono 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 also a perception of kimono knowledge, allowing them to dictate prices and heavily promote more formal (and expensive) purchases, as selling
6806-422: Was divided into craftspeople, who made the tanmono and accessories, tonya , or wholesalers, and retailers. In 1869, the social class system was abolished, and with them, class-specific sumptuary laws. Kimono with formerly-restricted elements, like red and purple colours, became popular, particularly with the advent of synthetic dyestuffs such as mauvine . Following the opening of Japan's borders in
6889-505: Was the International Herald Tribune as its fashion critic for 25 years, ultimately departing for Condé Nast International in 2014. She now produces a podcast "Creative Conversations With Suzy Menkes" and contributes to Air Mail, a mobile-first digital weekly created by Graydon Carter . Kimono The kimono ( きもの/ 着物 , lit. ' thing to wear ' ) is a traditional Japanese garment and
#521478